Megan Griffiths is a writer-director operating in movie and tv. Her characteristic credit come with “Sadie,” “The Night time Stalker,” “Fortunate Them,” “Eden,” and “The Off Hours.” She has directed displays for HBO, EPIX, TNT, Hulu, USA, Fox, Netflix, and Amazon. Her generating credit come with “Your Sister’s Sister,” directed by way of the overdue Lynn Shelton.

“I’ll Display You Mine” is making its international premiere at Seattle Global Movie Pageant April 16.

W&H: Describe the movie for us for your personal phrases.

MG: “I’ll Display You Mine” is ready a dialog that occurs over the route of 1 weekend between two characters, Priya and Nic. Priya is a feminist memoir creator whose smartly of private revelations has run dry. In hopes of mining some new territory, she has invited Nic, her nephew by way of marriage, to her house to interview him about his previous as a a success fashion who drew a large number of consideration for his sexual exploits with other folks around the gender spectrum.

Priya and Nic have lengthy shared a bond, so they’ve an ease in combination which is quickly examined as they wade into increasingly delicate subjects. Over the process this more and more intense weekend they push and damage limitations, and dig deeper into themselves than both of them will have expected.

W&H: What drew you to this tale?

MG: I cherished the characters — they felt layered and fascinating and prefer other folks I sought after to grasp higher. The script was once additionally in reality engrossing and took me puts I didn’t be expecting to head.

It felt like an ideal movie for this time.

W&H: What do you wish to have other folks to consider when they watch the movie?

MG: I feel the movie has one thing to mention about private acceptance and the liberty that may come from that. I’d love to assume that gazing the adventure of those two characters may spark the target market to consider the techniques through which they may not be being type sufficient to themselves, or treating themselves with sufficient care.

W&H: What was once the largest problem in making the movie?

MG: I feel discovering the suitable other folks to play those two characters. Since Nic and Priya are the one characters within the movie, they each will have to in reality draw you in, and there need to be layers to find over the process the movie.

Given all that, I’m so thankful we discovered Poorna Jagannathan and Casey Thomas Brown. Each are such sturdy actors, however additionally they are such attention-grabbing people. Poorna has an intelligence and herbal interest that in reality comes via in Priya and lets in the target market to be told together with her. Casey is so captivating and loveable, but additionally this type of high-quality actor who was once in a position to navigate probably the most extra advanced components of Nic.

They each make each and every second so true and level-headed. It took us about 9 months to seek out them and line up schedules, nevertheless it was once totally definitely worth the wait.

W&H: How did you get your movie funded? Percentage some insights into how you were given the movie made. 

MG: After manufacturer Lacey Leavitt and I first of all gained the script from our 3 writers, Tiffany Louquet, Elizabeth Searle, and David Shields, we shared it with Mel Eslyn at Duplass Brothers Productions. Mel completely cherished and understood this undertaking and she or he championed it to Mark and Jay Duplass, who fell in love with it as smartly and feature supported us each and every step of the way in which.

Ashley Edouard from Duplass Brothers Productions changed into the general integral piece to our generating crew, and we had been off and operating.

W&H: What impressed you to turn into a filmmaker?

MG: If I’ve a faith, it’s empathy. I feel it’s so vital to inspect the arena from different views. Directing movie and tv lets in me to do that via an enormous number of characters and tales. I by no means depart a undertaking with no need discovered one thing and grown in some small — or infrequently huge — approach, and I’m hoping the similar is right of the target market’s enjoy gazing the rest I direct.

W&H: What’s the most efficient and worst recommendation you’ve gained?

MG: I feel the worst recommendation was once to carry out for some best studio alternative after early luck on this trade. On this industry it’s simple to permit people to dictate your trail, and in accordance with this recommendation a large number of proficient other folks lose years looking forward to people so they can paintings.

Conversely, the most efficient recommendation was once to prevent looking forward to permission and simply to find techniques to inform your tales and get your paintings in the market. Observing Lynn Shelton get her Spirit Award in 2009 and the use of the chance to empower other folks to head make their movies was once a in reality pivotal second for me and I feel many different filmmakers.

W&H: What recommendation do you have got for different ladies administrators?

MG: Construct a frame of labor that speaks for itself, at all times respect and make the most efficient of each and every alternative, invite and combine comments, and have the ability to settle for a praise graciously.

W&H: Identify your favourite woman-directed movie and why.

MG: There are some distance too many to listing, however since this movie was once so influenced by way of Lynn Shelton’s early paintings I will be able to communicate a little about “Your Sister’s Sister.” As a co-producer, I noticed firsthand the protected bubble that was once created for no longer most effective actors Mark Duplass, Rosemarie DeWitt, and Emily Blunt, however for all people who had been there in the back of the digital camera.

That bubble allowed everybody to deliver our best possible to the desk and ended in an intimacy and vulnerability that made its approach into each and every side of the general movie. Movie units can also be annoying and chaotic puts, however that movie set was once an oasis. I’ve attempted to hold on that custom of constructing an area which is protecting and targeted, however nonetheless manages to be amusing and unfastened and make allowance other folks to polish.

W&H: How are you adjusting to existence all through the COVID-19 pandemic? Are you holding inventive, and if this is the case, how?

MG: Ahead of the pandemic, I have been frequently development my tv resume. When the whole lot close down, all of the TV paintings I’d covered up for 2020 was once driven, driven, and in the end evaporated. In that very same time frame, Might 2020, got here the devastating information that Lynn had passed on to the great beyond. As some way of dealing with my grief and honoring Lynn’s reminiscence, I threw myself into making a tribute piece for her with Mel Eslyn and the Duplass brothers.

After that, I grew to become my consideration to one thing that I had drifted from for a couple of years and began growing characteristic paintings. This in the long run ended in each “I’ll Display You Mine” and my different upcoming characteristic, “Yr of the Fox,” which I’m simply completing now.

W&H: The movie trade has a protracted historical past of underrepresenting other folks of colour onscreen and in the back of the scenes and reinforcing — and developing — unfavorable stereotypes. What movements do you assume wish to be taken to make it extra inclusive?

MG: Definitely pulling in additional voices from underrepresented corners and raising the ones tales is a smart first step, and person who appears to be going down slowly however indisputably, and is strengthened by way of audiences which are starving for those new views.

However I feel the ones people who aren’t from communities of colour — or the incapacity neighborhood or LGBTQ+ communities — actually have a accountability to have consciousness across the stereotypes we is also developing or reinforcing in our personal tales, and to take each and every alternative to be told and develop our personal working out and replicate that during our paintings.