Hello friends. First of all, about Jacob in Brazil. There is no publisher for the book there yet. But it is being published in Spain by Siruela and in Germany by Fischer Verlag (currently the translations are in progress. In Spain it comes out this fall). I hope a Brazilian publisher will buy it. The Private Lives of Pippa Lee was ultimately sold in thirty countries, so I am hopeful that Jacob too will have some reach. I think Jacob is considered a more literary book than Pippa was. To me, it’s a comic novel with well-chosen sentences, a plain old fun read you can sink your teeth into.
A writer friend asked me yesterday if I was writing fiction. I am carrying around a tiny notebook. It’s orange and has almost nothing in it except a few furious little notes. The woman accruing in my head seems to be filled with darkness, which is odd as I am so happy these days. But I suppose we all carry around our shadow selves and it’s best to let them out a little at a time, lest they quietly take up residence and then one day you’re totally depressed and have no idea why.
Mostly I am working on “Maggie’s Plan”, the film I am shooting in January. Greta Gerwig and Julianne Moore are starring in it. Greta Gerwig is so perfect in this part, I sometimes wake up in a panic thinking I might not have cast her. She is the only person I know of that can make sense of this character, who is adorable-infuriating, innocent-bossy, ethical-destructive-right all along. What’s the fun of creating characters everyone knows are good from the word go? And Julianne Moore, also playing a Napoleon Pastry of a layered woman, is a great comic actress. I am beginning to see very clearly how to shoot this film. At first I was disappointed that we had to move the shoot from October to January; now I am glad. The clear, clean winter light, and the cold, when people move fast and communicate quickly outside (very good for pacing of a comedy) and the way New Yorkers often have to practically strip when they get inside their overheated apartments, providing lots of costume fun, make me think our bad luck might have its good side after all. It’s a cliche about adversity being the mother of invention, but also true, I find: the stills in “Personal Velocity” were a practical response to the fact that we simply didn’t have money or time to shoot the whole story. So we shot those sequences without sound, moving at the speed of light; then I chose stills and used voice over. The stills and voice over are now the principal distinguishing characteristics of the movie.