Author Jessica Knoll details the intensely personal journey of translating her best-selling novel for the screen.
I had all of them. I think I still have so many old copies at my parents’ house. As someone who was suffering and in a lot of pain in the place that she was in, magazines were escapism for me. I loved reading about these career women and their lives. There’s a meme that’s blowing up right now about how women’s magazines really convinced a lot of people that going “day to night” was going to be a big part of their lives. And I remember, yes, that’s what I felt when I would read them.
In writing this script—or any script that I’ve worked on—the notes documents are insane. They are coming from all the different producers. Then the studio people. Then if the actress is a producer, they have their own set of notes. And this is on every single draft you write, every single scene that you’ve already written 30 different times. … People would say to me, “As a writer, what we respect about you the most is that you’re really good about taking notes.
The next question contains a few spoilers. Near the end of the movie, there’s a scene where Ani’s on the subway, surrounded by people who have read an essay that she wrote. They’re feeling very seen by her frank account of rape and its aftermath. It’s not a scene from the book. It seems drawn more from the similar essay that you wrote for Lenny Letter. How did that scene develop?
One thing what we wanted to do in the movie was move past this idea that it was just about Ani and her experience and how it affected her. We wanted to show that this was more epic. That it was bigger than her, this story and what she had learned from it. That there were so many women out there who could connect with it. … While we were talking about how to accomplish that, I was in New York and I was in my hotel room, and there were only a couple of TV channels that worked. Andwas on.
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