Classicist Charlotte Eagar writes about her project, with her husband and a Syrian director, to stage the antiwar Greek tragedy in Arabic translation with a cast of women who have fled their homeland’s vicious civil war for neighboring Jordan.
“When the people who have paid for the film are also your audience, you lose the latitude to innovate and surprise. Two roles that used to be distinct – investor and consumer – are now one, and as such the way the filmmakers can work is altered and limited, if they are to avoid a fan backlash and get funded a second time.”
“I realized that things that look like magic are often just many hours of invisible practice. Since then I’ve learned guitar, cello, singing, card tricks, juggling, unicycling, origami, public speaking and design. There’s something really rewarding about not knowing how to do something, practicing like crazy, and then being able to do it.”