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“Emma” has seen multiple adaptations over the years. SEE Can Anya Taylor-Joy’s ‘Emma’ outperform the Gwyneth Paltrow version at the Oscars? It’s an important quality for Emma Woodhouse, whom the audience must root for despite some unpleasant actions. “I’m not dealing with an actor who is ‘vanity first’,” claims de Wilde, “she’s not trying to look like a fashion plate.” Taylor-Joy was part of de Wilde’s initial pitch for the film after the director was stunned by her performances in “The Witch” and “Thoroughbreds.” “She successfully plays both the victim and the villain,” explains de Wilde. The director compares “Emma” lead Anya Taylor-Joy to a rock star in many ways. “I liked to help the musicians I was working with create a character that could give them a relief from the diary of their life that was present” in the music, she explains. De Wilde also discovered how much she enjoyed helping rockers embody a new persona.
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Some of her earliest collaborators asked her to direct their music videos, where she continued to hone her storytelling. Directing was a natural evolution for her, as de Wilde notes “I’ve always been a storyteller.” Obsessed with film stills from a young age, the artist wanted her own photos to “seem like scenes from movies.” SEE Can Anya Taylor-Joy’s ‘Emma’ outperform the Gwyneth Paltrow version at the Oscars? She is widely known as a photographer, famed for portraits and album covers of rockers like Elliott Smith, Beck, and Jenny Lewis. The screwball comedy is de Wilde’s feature film directorial debut.