when I was about 15,” O’Connor tells The Daily Beast. “I read it on a school bus and it was about a half-hour journey, and by the time I got off the bus I really felt like I’d been somewhere.
“I’ve always wanted to know who Emily was as a person, and in making the film, I also wanted to write a story that would help me understand her better, but maybe not in a literal way,” she continues. Historical accounts have it that Emily, the most brooding and arguably most brilliant Brontë sister, conceived her 19th century masterpiece whileof decidedly drab and unadventurous seclusion. But the prospect of sitting through hours of an introvert’s candlelit scribbling isn’t exactly enticing for most moviegoers .
“I’m playing with the myth of Emily Brontë,” O’Connor explains of the film’s artistic liberties. “There’s something delightful about the idea that she might be taking opium out on the Moors.”And yet, there’s nothing cheap about it—Emily and her fellow famous sisters are coping in different ways with the void left by their mother’s death.
“Emily was someone who had a real sense of her own power,” O’Connor says. “She had this wild imagination, and she had this huge intelligence. She was very musical. For me, the themes ofare about authenticity and being OK with being different, and celebrating that. If you can really own that, that’s how you’re going to find your own voice and be able to say something that’s going to enrich the collective.”I’m playing with the myth of Emily Brontë.
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