![]() ![]() At the beginning, Emma starts off not human, in the way her curls are almost stitched into her head and seen as satellite wires. ![]() Like, with the proposal dress, I wanted it to be this white one with these little green hearts, and Autumn was like, “Yes, with the hearts!” There was always a hair story and a costume story. Taylor-Joy: I was so involved in the fitting process that I must have spent 49 or 50 hours getting the clothes made on me. We’ve all felt that, where clothing symbolizes a breakup or you have to throw a jacket away because she cried on it. Suddenly, the clothes that felt like a necessary part of him are his enemy. Later, when he’s panicking about not having told Emma he loves her, he’s tearing his clothes off. And it makes his bossing around Emma a little more comical, the elegance. You get to fall in love with him in that dressing scene, to see that he’s human and that there’s a real man underneath. Knightley was the love interest from the beginning of the movie. When you see these two hands touch, everyone gasps, because it’s scandalous. I’ve really enjoyed hearing about everyone saying, “This dance scene, it’s so sexy.” That’s because nobody touches in the movie. People would come up to me, and you’d hear Autumn from the other end of the house, yelling, “Don’t touch her!” There will be no touching.” We have two hugs in the movie, and I’m so grateful for my two hugs. Taylor-Joy: Autumn, at the beginning, when we were discussing how we were going to do it, she was like, “We’re going to really stick to the rules. There’s also this quality to the period that heightens the romantic tension, where no one can touch and everyone’s styled in this impossibly extravagant fashion. Getting this film, I had permission to go deep into that rabbit hole. That was the basis of my style in general. That’s David Bowie on the cover of Hunky Dory, he’s pretending to be Marlene Dietrich. ![]() “Okay, you pretend to be in this painting.” Pretending to be people in other time periods, that’s so rock ’n’ roll. I’ve always used it to inform other ideas. I’m a fan of fashion history, in general. And if I’d decided to modernize it, I wouldn’t have done it just out of fear of not connecting with people. And I’ll also say the decision to stay in the time period wasn’t fear-based. If you were to take this story and put it anywhere else, you wouldn’t have to change that much to make it relatable.ĭe Wilde: Right. Churchill, an Emma, and we have bits of them within. If you’re a fan of the book, you’ll understand she’s brilliant at satirizing characters and people. Taylor-Joy: Also, weirdly enough, people don’t seem to associate Jane Austen with the word “funny.” And it is so funny. While promoting the film in Boston this week, de Wilde and Taylor-Joy talked to Fortune about adapting Austen’s classic and making it their own through blood, sweat, and tears-sometimes quite literally. But the most knowingly arch touch de Wilde brings to the proceedings is a knack for perfect visual symmetry, an eye for knowing exactly how to position actors within each elegantly composed shot. Bonnets, spencers, and decorative reticules abound, with a stunning amount of attention paid to extravagant makeup and costuming. What’s notedly nontraditional is the spirit and style de Wilde applies to Emma., her feature film debut. Be it orphan Harriet (Mia Goth), whom Emma is determined to set up with a local pastor (Josh O’Connor) despite Harriet’s affections for a farmer (Connor Swindells), or longtime family friend George Knightley (Johnny Flynn), who might just realize his feelings for Emma if he can stop scolding her for long enough, the residents of Highbury are but Emma’s game pieces, to be moved around the board in any arrangement she sees fit, from the cozy comfort of her lavish family estate. The story remains largely traditional, as the wealthy and self-centered Emma Woodhouse (Taylor-Joy) passes her days meddling in the romantic affairs of others in the small British town of Highbury. But in the case of Emma., that stylization actually serves a few critical purposes, setting up an in-on-the-joke “period piece” while delivering a take on its source material that’s as intentionally opulent and bracingly self-possessed as Austen’s protagonist herself would have insisted upon.Īs helmed by rock-and-roll photographer Autumn de Wilde and top-lined by Anya Taylor-Joy, who brings a chillier edge to the character, this Emma. ![]() The use of punctuation in a film’s title can often be seen as showy and overindulgent on the part of a filmmaker ( mother!, Everybody Wants Some!!). ![]()
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