Scarlett Johansson recently opened up about the struggles she faced during the pre-production of her directorial debut, “Eleanor the Great.” In a wide-ranging interview, she disclosed that one of the film’s financial backers made a threat. Yet, their promise to pull support became a threat to remove key content related to the Holocaust from the proposed script. This pressure made any alternative a no-win situation for Johansson, as she tried to do right by the film’s vision.
Johansson’s task was formidable, but she didn’t flinch. Thankfully, distributor Sony Pictures Classics intervened just in time, so that filming could go on without the rehearsed revisions. Incident to that, she made known her own frustration with the backer’s objection. That would make sense, she said, if they were requiring them to film in New Jersey or required a spring deadline. Rather, they were balking at what the film really was.
June Squibb stars as an elderly woman who pretends to be a Holocaust survivor in “Eleanor the Great.” Johansson said it was important to her that the film was honest in its storytelling. She said, “If we’re not talking about the Holocaust, what do we think is the greatest lie ever told?”
Johansson helps to shore up Woody Allen. In addition to pleasingly abrupt casting choices, she’s brought some interesting transitions to his previous films. Despite Allen facing significant backlash and allegations from his daughter, Dylan Farrow, Johansson reiterated her belief in him, saying, “I love Woody. I believe him, and I would work with him any time.”
Johansson explored her journey bringing “Eleanor the Great” to life. She discussed her epic legal war with Disney over their simultaneous release of “Black Widow” to streaming and theaters. She filed the lawsuit because when the company dropped the film simultaneously in theaters and on its streaming platform, Disney+, it allegedly breached its contract with her. The lawsuit led to an anticipated $40 million settlement. Johansson noted that she would have appreciated more support during this process, stating, “As we moved from the model of theatrical box office bonuses to understanding how that translated to streaming… I would welcome more support.”