It’s a tale as old as time: a beauty born of royal blood encounters a very fearsome beast in a faraway land.
But while Damsel‘s damsel, Millie Bobbie Brown’s Princess Elodie, is in distress at times, she’s not waiting around for anyone to save her from the beast, in this case a fire-breathing dragon, that threatens her. She can do quite well on her own, thank you very much, and as the Netflix fantasy film ultimately shows, Elodie is the hero in her own story with no need for a handsome paramour to rescue her.
Related Juan Carlos Fresnadillo: I was attracted to Damsel because it turns the whole concept of the “fairy tale” upside down. When I read Dan Mazeau’s script, I could tell he wanted to shake the audience’s perceptions of all the tropes the fantasy genre typically has: the damsel in distress, of course, but also the dashing prince, the enchanted kingdom, the fire-breathing dragon, and so forth.
One of the pitfalls of the fantasy genre is that the special effects and action sequences can overwhelm the story and the characters. For every Lord of the Rings: The Two Towers, there’s a hundred Warcrafts. How did you avoid those potential downsides? Did you work with Millie to always keep the focus on Elodie and her story?
In Damsel, I decided to put the camera close to Millie to emphasize her character’s inner conflicts and emotions. That was a challenge for her because, normally, you cheat when there’s a lot of action and effects involved.
When I was making Damsel, I could feel the spirit of The Lord of the Rings hovering over the production. Maybe that’s due to my editor, John Gilbert, who also edited The Fellowship of the Rings.
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