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Isabel Sandoval on directing Andrew Garfield in 'Under the Banner of Heaven'
NEW YORK — There is no stopping the talented and prolific auteur Isabel Sandoval these days.
Sandoval, the first transgender woman of color to compete in the Venice Film Festival after the premiere of her third feature film "Lingua Franca" in 2019, was recently tapped by FX to direct the TV series "Under the Banner of Heaven" starring no less than Golden Globe winner Andrew Garfield.
Her episode was also chosen by FX for Emmy consideration. She became a member of the Directors Guild of America. And her fourth feature, "Tropical Gothic," has just been announced with Big Beach producing.
We recently interviewed the hardworking Cebuana filmmaker by email. Below are excerpts from our interview.
Congratulations Isabel! First you are chosen to direct an FX episode that features no less than recent Golden Globe winner Andrew Garfield for "Under the Banner of Heaven" and now your episode is even chosen by FX for Emmy consideration. Please tell us the significance of this journey as a trans Asian filmmaker making it in Hollywood and the challenges you had to overcome and hurdle.
What's funny is that it's not something I think of while I'm working so I don't consciously operate with the mindset of how I'm marginalized or less privileged in Hollywood.
Within our communities, these identifiers—trans, Asian, etc.—may be self-affirming. However, it's a double-edged sword in the industry because there's the risk that it can other you.
It does two specific things—points out how you deviate from the typical or even ideal persona of an artist and reinforces that persona—cisgender, white and male. It also invites the less imaginative execs to pigeonhole you and your range as a storyteller: "So you’re Asian, you can only tell stories about Asian characters."
I don't want to limit myself that way. Sure, I love making films about Asian characters but that's not all I can do. Frankly I can do any film about anything that I'm passionate about. What I identify most strongly as is as an auteur, a filmmaker with a distinct and singular vision.
You have also recently become a member of the Directors Guild of America this year. So how surreal is that; this is happening to you, somebody from humble beginnings in Cebu fulfilling her dreams of making it in the mainstream industry?
When I set my mind on something, I get very stubborn and single-minded about pursuing it. But that's not enough. I don't like to go the conventional route—film school, for instance—because I want to go my own idiosyncratic, outsider-y way. That's way more breathlessly exciting to me.
I knew early on that I was a filmmaker but deciding to pursue it as a profession took longer because you don't know if you'll make it.
When we think about where we started 24/7, you end up thinking how herculean or Sisyphean a goal is, you become hyperaware of your limits, and that can unwittingly hold you back. I like to look ahead. The sky's the limit.
Tell us when and how did you find out that you were being tapped to direct an episode of this FX drama series "Under the Banner of Heaven." What was your reaction and who was the first person you called to share the good news?
I was at the Venice Film Festival premiering my short film, "Shangri-La," when my agent at CAA sent me the scripts for "Banner." Our showrunner, Oscar-winning screenwriter Dustin Lance Black, loved "Lingua Franca" and wanted to interview me about directing episode 6. Lance is writing based on a Jon Krakauer book starring Andrew Garfield and Daisy Edgar-Jones. It was just exhilarating.
I was beside myself at having "Banner" be my first TV project, and endlessly grateful that Lance took a chance on me. I was at the hotel with my fiancé, so he was the first person who knew.
How was it working with Andrew Garfield and what did you learn from him? What was the most challenging or memorable experience you had shooting your episode with him?
Andrew was a dream to work with. Every moment we worked together I always felt like we were doing something special because of how passionate, focused and meticulous he was on our scenes together.
I may have directed the penultimate episode and not the finale, but Jeb Pyre (Andrew's character) has his emotional climax at the end of the episode. It's where his spiritual crisis crescendos so we had to calibrate the emotional intensity of his dramatic scenes earlier in the episode leading up to the car scene.
I needed him to dial down the emotion in those scenes so that the cathartic breakdown in the car was well-earned, not indulgent or overblown. I didn't even give him many notes for that scene. I let him take his time to prepare for it, we both knew intuitively where he needs to take the scene emotionally, and when he was ready, we were there ready to roll.
How long did you film in Calgary and what were the challenges you encountered while filming over there? Did you have to practice COVID-19 protocols? How was it filming and living in Calgary? Did you miss North Carolina?
I was in Calgary for a little over two months from October to December. The production was serious about COVID-19 protocols; we'd get tested three times a week and mask up the whole time.
Calgary was a laidback city so on my days off I would just go see movies—I saw "West Side Story," "Spencer" and "The French Dispatch" at the mall there—or I would go to their winter resort towns Banff and Kananaskis. I can't wait to go back to their Nordic spa.
The last two days of my shoot in December was when we shot the 19th century scenes outdoors and the temperature was below freezing. But I didn't mind it, which was bizarre since I hated when it would snow in New York when I used to live there.
I love traveling and exploring new places, so I didn't miss North Carolina while I was away but it was nice to finally come home and relax!
Tell us how it was working with Daisy Edgar-Jones and Sam Worthington?
As talented as she is, Daisy has no airs, is approachable and funny. She's just lovely besides being a consummate professional. She comes to set prepared and ready to go, and she has a terrific instinct when it comes to her character Brenda and the emotional beats in every scene. I don't think I've ever done more than three takes with Daisy.
I'm very proud of the work that I did with Sam on our episode. I know that he's better known for tentpole movies like "Avatar" but in "Banner" he needed to tap into a whole different emotional register where he needed to be more vulnerable and rawer, and he pulled it off.
At first, he can seem reserved and introverted but once you establish a rapport with him, he's just so thoughtful and engaged. As a director, I felt my job was to allow Sam to feel comfortable enough to be present and, in the moment, and when he is, the man can do wonders.
What is next for you?
I'm in between directing two TV series after "Banner," but my fourth feature "Tropical Gothic" has just been announced. Big Beach is producing. They previously did "The Farewell," "Loving" and "Little Miss Sunshine," and fully support my vision for "Tropical Gothic" so I'm very psyched about the collaboration.
But although the story is ostensibly set in the 16th century, when Spain first settled in the Philippines, the film is more an allegory of Western imperialism than a faithful recreation of that historical moment.
It's not the History Channel. I'm far more interested in how imperialism remains a contemporary issue and my creative choices in making the film will be guided by that.
—MGP, GMA News
