\nOne thing I’m curious about. Can you tell, when you see Sally in the film, in which of the shots it’s you\u2026 and which ones are your double? Do you remember that the shots of you in the boat were right at the edge of the tank with stuntmen in the water next to the boat? I only ask, not to minimize your bad memories, but to try to understand the differences in the way you and I remember the events\u2026 especially since you were so young and impressionable and sensitive and yet seemed to be so wise and about 30 years old .<\/em><\/p>\n<\/blockquote>\nDirecting, like acting, is a job. And part of that job is keeping your crew safe. This is especially true for children, who probably shouldn’t be working in such high-stress and high-danger situations anyway. However, Polley believes that the system that rewards “Out-of-control mad white male genius” directors regularly fails those placed under their care. She concludes that the \u201cfetishization\u201d of reckless auteurs has created a society too accepting of blatant disregard for performers. <\/p>\n
\nI find myself wholly intolerant of the fetishisation of this archetype of genius, having seen, first-hand, great works made by decent, conscientious people, and having witnessed sharp impatience with female or Bipoc [Black, Indigenous and people of colour] film-makers who show any similar signs of irresponsibility. Terry lived for so long in the film world’s imagination as a \u201cmad genius\u201d whose madness and recklessness somehow elevated his work di lui.<\/em><\/p>\n<\/blockquote>\nRead the whole excerpt at The Guardian<\/em><\/span>.<\/p>\n<\/div>\n