Interview With Kimberly Peirce


AE: So the narrative opens

up a different kind of experience for the audience — to participate in these

soldiers’ experience.

KP: Yes. I believe for me, because I’m

a fiction filmmaker — and I mean I use fiction loosely because it’s so based on


AE: That’s what’s

interesting about your work I think.

KP: Right. But because I’m aiming

for the underlying emotional truth … what I’m doing is I’m bringing you deeply

inside the experience of a human being. But I’m bringing you inside of it in a

way like — if I was a great novelist I would write a novel.

But I’m not. But what I

can do is I can create these characters, and I think I can reveal to you the

camaraderie between soldiers better in this medium … than I could in any other


AE: Well, that makes total sense.

Instead of having them talk about it, they’re going to do it in front

of you.

AE: A few days after I saw

your film, there was a big article in the Los

about repeated Iraq

deployments raising mental health risks for soldiers — it’s obvious — not


KP: Of course they do.

AE: With subject matter like

this, it must be tough to get a film made.

Well, I’ll tell you, yes. It’s always tough to get a film made. But

what I did was I paid for all the research. I paid for writing the script with

my writing partner, Mark Richard, who’s a great novelist.

Then we went to the

financiers and the studios on a Friday and we said, “Here’s the script,

and I cut together a five-minute trailer based on my interviews throughout America

of soldiers,” and I included these soldier-made videos. And we were like: “And

this is the aesthetic. It’s young. It’s gonna be sexy. It’s gonna be authentic.

It’s gonna move you.”

And they bought it that

weekend. They bought it overnight — four studios, two financiers, and they

greenlit it — which never happens. So I sold a script as a greenlit movie. So was it difficult to get made? It was

difficult to make, but they could see the inherent dramatic nature of it, the


AE: And your track record,

too, speaks volumes.

KP: They knew that I was serious,

and they knew I knew what I was doing. But … what’s so wonderful is we all saw

[that it] was a human story. It was about camaraderie.

I really encourage you to

go to

It’s a website. I’ve given cameras to soldiers and their families. They film

themselves. We get it together. We put it on the website. They interact with

other military families, with soldiers, with civilians.

And then [the website] has

an area where … people go to my screenings and then they write in … like: “This

is my story. I’m a stop-loss soldier. This is my husband’s story. He’s not

gonna see the birth of his child.” And it’s just one of those moving

things. It’s a real passion project.

AE: readers also have an interest, obviously,

in your work directing for The L Word.

I’m just wondering, do you have any future plans to direct for the show again? And

what was that experience like for you?

I love the girls. I love the girls. I mean literally. I love Kate. I

love Leisha. I love Jennifer. I love — who’s the fourth one?

AE: There’s so many of them

now I can’t even remember them all.

Yeah. It was great because I know Rose Troche and I know the girls

involved with it, and they had asked me to do it and then I went, and it was

literally a blast. And they were like — people were like, “Thank you for bringing

sex back to The L Word,” because

we had like four different sex scenes.

AE: It was a great episode. [Peirce

directed Episode 3.5, “Lifeline.”]

Actually, the sex scene went on for much longer. It was much more

graphic. They cut it down. You know what I mean? I would love for you to see my


AE: I think a lot of people

would love to see your cut.

I would love to see my cut. So maybe if we can get it out there. It’s

just much more graphic and it goes much more farther, you know. I had such a

great time. … It’s such a guilty pleasure, but I watch The L Word every week. Like I come home and we’re all like — I mean

we’re just, we love it. What can you do? It’s just — it’s hilarious.

AE: Showtime has just

ordered a sixth season to wrap things up, so any chance you’ll direct one of

the final episodes?

KP: I would totally consider it. I’d

have to see how my schedule goes. I just — I really would. I’m a huge fan.

Stop-Loss opens nationwide on

March 28, 2008. Go to the film’s official site for more information.

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