Meet Director, Jaclyn Bethany
F: What is your background?
J: I did! I am originally from Jackson, Mississippi and have always pursued the arts. First it was musical theatre, then Shakespeare, and then more theatre, but cinema had always been a part of my backbone. I am not from a creative family, but there is quite a long history of grassroots creativity where I am from. Mississippi has a canon of legendary writers (William Faulkner, Tennessee Williams, to name a few) and musicians (Elvis!). I wasn't on my first set until about six years ago, as a background actor. I think some sort of spark hit then, and I started writing short films. I applied to the London Film School and did a year in Screenwriting. In London, I met so many wonderful people who I am now lucky to call friends and frequent collaborators. There are too many to name, but my cinematographer Irene Gomez-Emilsson and poet/actress/filmmaker Greta Bellamacina. I directed my first short in London and used that to apply to the American Film Institute for a Master's in Directing. Almost four years ago, I moved to Los Angeles and I have been here ever since.
Caitlin Carver, Jaclyn & Isabelle Fuhrman on set Delta Girl (c) American Film Institute.
F: What do you do now?
J: Well at the moment, I am in quarantine, like much of the rest of the world. I am trying to take it a day at a time. I am in post-production on my second feature Highway One, negotiating distribution for my first feature Indigo Valley and writing a lot. I am trying to connect with like-minded creatives during this time. I have had a reading of a new screenplay and have another one this coming weekend. My digital series The Rehearsal was short-listed for the Emmys this year, so we are trying to promote that. When this period of uncertainty is over, I am planning to hop into pre-production for Willow, my newest feature, which follows nuns in a convent during an ambiguous war. It's ironically relevant. So I am working on the script, fundraising and coming up with casting ideas.
I am also writing two new scripts. One about young Elizabeth I and her controversial relationship with Thomas Seymour/Catherine Parr - a period of Tudor history that is so interesting and probably influenced the entirety of Elizabeth's reign and her decision to not take a husband. The other is a pilot inspired by historical events in Mississippi surrounding the disappearance of a girl during the 1979 flood and the first female investigator in Mississippi. Both, oddly, have elements of world-changing disasters - the plague frequently pops up during the 1500s, and the flood upended life in Mississippi for a few months. I know that sounds really busy and productive, but I also have days where I do nothing, like everyone else during this time. I have watched some extraordinary films and series during this time of isolation. Some that stick out to me are Atlantics (Dir. Mati Diop), which I thought was beautiful and deeply effecting; HBO's My Brilliant Friend (Elena Ferrente is just a genius); an Icelandic film A White, White Day (a stunning portrayal of grief); Swallow (I watched that at the Arclight just before cinemas closed); The Other Lamb (Dir. Malgaorzata Szumowska), which was weird and not fully formed to me, but Szumowska often makes divisive movies about religion; Ida (Dir. Pawel Pawlkwoski) I thought this was really a perfect film, it was the first time I had seen it; Hulu’s Mrs. America (what an incredible cast!); Killing Eve; and Showtime's Homeland, which I have been a fan of for years. I also binged Unorthodox on Netflix, which I thought was gorgeous!
F: As a woman, have you ever experienced any obstacles in your industry, because of your gender?
J: That's a tricky question. I think what has effected me the most is the fact that it has been a male-dominated industry for so long, but the truth is I am finding support for my work. It's amazing when that comes from a woman and I am eternally grateful for the women who have supported me creatively. I hope I continue to build those relationships. We have to support each other.
F: The impactful project you’ve worked on, the one that you still look back with appreciation and why.
J: Probably the most impactful project I have worked on was my AFI thesis The Delta Girl. It was my graduation short film. It was about where I am from and it tackled bold and risky subject matter - civil rights. Many people I love worked on or supported that project, and it really gave me the confidence and passion to move forward with my storytelling. I don't know if the film is super reflective of where I am now as an artist, it was made two years ago. But, the experience is something that will stay with me forever. It felt surreal.
F: I think you always love your last project the most, right?
J: The one I am most thankful and appreciative of is Highway One. The movie is half-improvised with an amazing cast from NY, London and LA. The story is really fun but also delves into the complexity of female friendships. It feels fresh, funny, and relevant. I am just so glad we made it, and I am so grateful we shot it before the pandemic.
BTS Jaclyn and Adam David Thompson on Rehearsal. Photography by Shannon Finnell
F: Do you think that “believing in yourself” is equally important as skills, in order to succeed in this industry.
J:Absolutely! You do need both, and they don't come overnight. I work on these things daily. But success is often random and measured in mysterious ways. To me, success means creating, being surrounded by people, and telling stories that you love. At the end of the day, I have never cared about fame, recognition or money. I do this because filmmaking is in my blood, I can't turn away from it. It's like love, it's not really explainable. I think once you reach that point, there's no turning back.
F: Any tips you would like to give to rising female filmmakers out there.
J: Find your team, hone your craft, keep learning and collaborating... and don't give up!
Main Cover photo: Diana Patient
