Stephanie Johnes is a director, producer, and documentary filmmaker who gravitates towards tales of underdogs and dreamers. Her directorial debut, “Doubletime,” premiered at SXSW and Tribeca and was acquired by Discovery Films. She served as the Director of Photography for “Venus & Serena,” the Magnolia Pictures and Showtime movie about the iconic Williams sisters.
“Maya and the Wave” is screening at the 2022 Toronto International Film Festival, which is operating from September 8-18.
W&H: Describe the movie for us in your individual phrases.
SJ: After a brush with loss of life, Maya Gabeira makes historical past in the male-dominated world of huge wave browsing. The movie is an empathetic portrait of a lady preventing to realize her dream whereas struggling in opposition to gender bias.
W&H: What drew you to this story?
SJ: I used to be inquisitive about huge wave browsing, and what it should be wish to be considered one of the few girls in the sport.
I feel I used to be drawn to Maya as a result of I can relate to her struggles, and I hope that viewers will see themselves in her story as nicely.
W&H: What would you like individuals to consider after they watch the movie?
SJ: People normally take into consideration their very own struggles with prejudice and really feel validated after watching this movie. I hope they may even really feel empowered to face up for themselves.
W&H: What was the largest problem in making the movie?
SJ: The largest problem was the timeline. When I met Maya I didn’t understand how lengthy it could take for her story to unfold. Turns out it was 10 years.
W&H: How did you get your movie funded? Share some insights into how you bought the movie made.
SJ: The movie was initially self-funded. After the story had confirmed itself, financiers got here on board.
W&H: What impressed you to grow to be a filmmaker?
SJ: I couldn’t resolve on a profession, so somewhat than select, I pursued journalism in order that I’d have an excuse to find out about something and all the things.
W&H: What’s the greatest recommendation you’ve obtained?
SJ: The greatest recommendation I’ve obtained is to be your self. As a filmmaker, you’re typically a fish out of the water, in unusual environments, and it all the time helps to simply be your genuine self, even in the event you don’t slot in.
W&H: What recommendation do you’ve for different girls administrators?
SJ: If you’re keen on what you do, grasp in there! And attempt to work with girls as a lot as attainable when you may.
W&H: Name your favourite woman-directed movie and why.
SJ: “The Crash Reel,” directed by Lucy Walker, is my favourite documentary of all time. I find it irresistible as a result of it’s each intimate and spectacular. It was an necessary reference for Maya’s movie. I aspired to make a movie like “The Crash Reel,” an empathetic portrait of an athlete, with the context of a household story and the visible magnificence of utmost sport.
W&H: What, if any, tasks do you assume storytellers should confront the tumult in the world, from the pandemic to the lack of abortion rights and systemic violence?
SJ: I don’t assume storytellers have tasks; we observe our hearts or do the jobs given to us. I feel funders and distributors have a duty to fund and distribute significant tales somewhat than pandering to the lowest frequent denominator.
W&H: The movie trade has a protracted historical past of underrepresenting individuals of shade onscreen and behind the scenes and reinforcing — and creating — damaging stereotypes. What actions do you assume must be taken to make Hollywood and/or the doc world extra inclusive?
SJ: I feel we want extra feminine executives in positions of energy. Female-driven content material has confirmed itself each commercially and artistically. Fifty p.c of the world is feminine, however the majority of individuals in energy are males. With extra feminine decision-makers, we might have higher illustration of girls and individuals of shade onscreen.
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