DOC NYC 2017 Women Directors: Meet Lili Fini Zanuck — “Eric Clapton: Life In 12 Bars”
Lili Fini Zanuck is an Oscar-winning producer with a talent for finding and transforming unconventional material into box-office champions. Her producing credits include “Cocoon,” “Driving Miss Daisy,” and “Bessie.” “From the Earth to the Moon,” “ Revelations,” and “Rush” are among her directing credits.
“Eric Clapton: Life In 12 Bars” will premiere at the 2017 DOC NYC film festival on November 16 and will air on Showtime February 10.
W&H: Describe the film for us in your own words.
LFZ: This documentary is about Eric Clapton and his life. It’s hard-hitting and poignant but also genuinely shocking and full of surprises. Clapton is a fascinating man who has led an extraordinary life.
W&H: What drew you to this story?
LFZ: Eric and I have been friends for 25 years. We worked together when he did the soundtrack for my movie “Rush.” We stayed friends and he came to me saying that he had been approached about creating a documentary about his life. He said he would only be interested if I were to direct it.
I had not previously made a documentary but of course I said yes. It was a truly enriching experience for me and our friendship has become even deeper.
W&H: What do you want people to think about when they are leaving the theater?
LFZ: I want people to get a true sense of Eric and his redemption. Whatever preconceptions the audience may have about Clapton, or headlines they’ve read, are nothing compared to what this documentary reveals.
My hope is that the film will resonate with everyone: existing fans, those new to his music, and all who truly love a great story.
W&H: What was the biggest challenge in making the film?
LFZ: Logistically, the biggest challenge was finding the archival footage and trying to get it to a good quality.
W&H: How did you get your film funded? Share some insights into how you got the film made.
LFZ: After Eric asked me if I would do the film, I realized I needed to find a producer and team in London. I didn’t have the resources in London that I had in LA. I started asking around and doing my homework and John Battsek’s name kept coming up. I thought I would have to woo him to do the film but he said that as soon as I asked him, he knew he would say yes, and he gladly came on board.
I was very fortunate that as soon as Battsek showed one hour of the film to Showtime, they bought it.
W&H: What does it mean for you to have your film play at DOC NYC?
LFZ: Having the film play at DOC NYC means everything to me. This is my first documentary feature. I’m very proud of it. I want to share it with as many people as possible and DOC NYC gives me a great springboard to do that.
W&H: What’s the best and worst advice you’ve received?
LFZ: I have discovered on my own that your first instinct is always correct and when you second guess something it doesn’t work.
I think that the most important thing to being a good filmmaker is understanding narrative. In a documentary like this where you’re only working with archival footage, you’re creating the narrative. Even though you’re using your subject’s life as your outline, you have to use the footage to create a narrative and take the viewer somewhere and understanding that is important.
W&H: What advice do you have for other female directors?
LFZ: My advice is to keep pushing through. In a lot of ways Kathryn Bigelow is our hero because she has done this incredible work and she has been acknowledged for it. Women need to keep pushing through, and more importantly, women should start helping and supporting each other.
I’ve never had a woman in my career that’s in a higher position than me help me. I think that’s really sad. Men have championed me in my career and I think that’s wonderful and sad at the same time.
W&H: Name your favorite woman-directed film and why.
LFZ: I love “The Hurt Locker” by Kathryn Bigelow. I love it because to make a war movie, which just in its essence requires scope, and to make it so personal and intimate that you understand everything about this character, and then have a narrative with so many things left unsaid, to me that’s amazing and huge and subtle and something I really respect.
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
LFZ: The truth of the matter is, there are not many more women directors now than when I first started. As I said earlier, first and foremost, I think women need to support and champion each other. Without that I don’t think change can happen.
