Writer-director Joanna Hogg talks ghost stories, memoir films, and a particular stroke of genius: Why have Tilda Swinton play one role in a film, when she could play two?
are too, in a way. I don’t think it was a conscious thing—or rather, it was a conscious thing to look at the genre more directly. That was conscious. But I’m not sure I thought about the other films as ghost stories before now, talking about. I’m still trying to make sense of it, in a way. But I definitely thought, oh, I’m going to really enjoy making a genre film now.The Eternal Daughter
This is your third straight film about Julie, who’s again working on a film project about her life. How close of a proxy does she still feel to you? In 2008, I hadn’t gotten to the casting stage yet, so I wasn’t yet talking to Tilda about it. But after we madeThe Eternal Daughterand I was telling her about the story that I wrote in 2008, and, in fact, I showed it to her. Then we were talking about who could play the elderly mother Rosalind—although she wasn’t called Rosalind—because Tilda and I were always talking about her playing the daughter.
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