Desperately seeking Susan Seidelman

On Thursday, Sept. 19 at 6 p.m., Haystack Book Talks will present a special evening with director Susan Seidelman, author of “Desperately Seeking Something: A Memoir About Movies, Mothers, and Material Girls.” Part of the Haystack Book Festival run by Michael Selleck, the event will take place at the Norfolk Library, featuring a conversation with Mark Erder after a screening of the 1984 classic, “Desperately Seeking Susan.”

Susan Seidelman’s fearless debut film, “Smithereens,” premiered in 1982 and was the first American indie film to ever compete at Cannes. Then came “Desperately Seeking Susan,” a smash hit that not only solidified her place in Hollywood but helped launch Madonna’s career. Her films, blending classic Hollywood storytelling with New York’s downtown energy, feature unconventional women navigating unique lives. Seidelman continued to shape pop culture into the ’90s, directing the pilot for “Sex and the City.” Four decades later, Seidelman’s stories are still as sharp, funny, and insightful as ever.

Susan Seidelman on set.Courtesy of MGM

Interview

Natalia Zukerman: How has it been for you watching the film all these years later?

Susan Seidelman: It’s been interesting to watch it with multi-generational audiences. You never know whether something’s going to pass the test of time, but I think it does.

NZ: You write in the opening of your memoir, “If how one sees the world is a reflection of who they are (and I believe it is), then you can look at the world reflected in any of my films and see little pieces of me. Like Where’s Waldo? I’m hidden somewhere in each of them.” So where are you hidden in “Desperately Seeking Susan?”

SS: Well, I’m not so hidden in that. I’m a little bit of both characters, really. I mean, I was a girl who grew up in the suburbs, but I was also that rebellious girl from the suburbs who moved to New York City to live a different kind of life. It’s really about wanting to be your authentic self, that within all of us, there’s this other person that we sometimes want to let out.

NZ: Was there pressure for you to top the success of “Susan”?

SS: You know, no one expected this movie to be successful. It was made for $5 million, which for a studio movie was low. We shot it in New York, and the studio in LA kind of thought, “Oh, it’s just a little bit of money, we’ll leave them alone.” And then surprisingly, Madonna became such a superstar at the exact moment that we were making the movie. That was something that we couldn’t have planned any better. So, suddenly the film got way more attention critically as well as commercially than we ever expected. I knew that at some point, people were looking over my shoulder saying, ‘What are you going to do next?’ People were paying attention.

NZ: And was that hard or demanding of you in a new way?

SS: There’s something in the film industry called “the sophomore slump” so I knew that whatever I did next was going to be viewed differently because of the success of “Susan.”

(Seidelman’s third film was “Making Mr. Right” which came out in 1987 and starred John Malkovich and Ann Magnuson.)

SS: “It’s an AI romantic comedy. It’s about a woman who falls in love with an android that she gets to program. It’s sort of a Pygmalion story. She creates what she thinks is the perfect man, and then she falls in love with her creation.

NZ: Tell me about “Sex and The City.” How did that come about?

SS: That came about because Darren Star was a fan of “Desperately Seeking Susan” and a few of my other movies that are about New York City as much as they are about the characters. He wanted “Sex and The City” to be about the women, but to also be about the city. So, he contacted me, which was interesting because I never really wanted to work in television. Back then, it was kind of like the ugly stepsister to the movie business. I mean, it was great for writers because there was some wonderful writing going on. But by the mid late 90s, HBO and Showtime really reinvented television and suddenly TV didn’t look like TV anymore — the language was bolder, the themes were more adult. So, when I got the script and I first heard it was going to be a pilot for a TV series, I was not that excited about it. And then I read the pilot, and I thought, ‘Wow, this is pretty amazing.’ The writing was smart, and it was about women in their mid 30s, and there weren’t that many shows that starred women of that age at that time.

NZ: So how old are you now, may I ask?

SS: 71

NZ: Incredible. And how do you feel?

SS: I feel good. I mean, I think another factor of why I wanted to write this book was because suddenly I felt I was old enough to kind of look back on my career with enough objectivity, with a filter of time, and with enough to say about it and maybe enough distance. And I can’t believe it’s been more than 40 years now. You know, I didn’t want to tell tales out of school or be snarky or vindictive. It wasn’t about airing dirty laundry or anything. I wanted to tell my story from the inside out. I mean after 40 years of reading other reviewers or people writing about what they thought I was doing or thought my motivation was, I thought it was time to do it myself.