What was it about Antonia Fraser’s novel that made you connect with the material and make a film?

When I read Antonia Fraser’s biography I was struck by the human side that she really portrayed to Marie Antoinette. I thought it was interesting to hear about the personal side of this person behind all the myths. I was struck by how young she was, that she was fourteen coming into this situation, and they were basically teenagers running France at that time.

Jason said you actually write to music.

I always listen to music when I’m writing. I find it helpful when I'm writing. And I always start with kind of the look of the film and the tone I want it to have, and then the music. I start with the atmosphere, and then tell the story from there. And I always wanted to mix 18th century and then contemporary music. And also I thought a lot about just the New Romantic Period because that’s kind of my childhood memory of a kind of 18th century..

Did you find any difference among the critics this time when you went to Cannes?

It’s always nice to go in as an underdog, and it’s harder to go into a situation after you’ve had a success because I think it’s human nature to want to bring you down. But I felt like it was, our movie was well received and it’s always exciting going to a film festival like that. It’s always scary too.

I’ve read about the correlation with Princess Diana. Do you see that at all?

I wasn’t really thinking of her when I was making the film.  But, you know, I can see a connection with her and Marie Antoinette just, a young girl put into this royal family and under, and not having a lot of freedom.  Or I definitely see that there’re similarities just in that kind of royal life and a young girl who comes into it very young.  But I wasn’t thinking specifically of her when I was making the film.

What was most challenging about filming in Versailles?

For me just the scale of it, and to remember to focus on the intimate story and the emotion, and not get lost in the grandeur and swept up with the palace and the horses and extras and all of that. And just logistically, it was a challenge. And shooting in a museum, we had to make it feel like a real place where people lived.

Was it daunting to try to make a movie about one of the biggest historical figures?

Yeah. Most people were really supportive of my work there and excited that a young woman was making a story that hadn’t been told from that point of view. All the people at Versailles were very open to us being there. And, yeah, I definitely encountered a few people that were challenging us saying, ‘Now who do you...  as an American you can’t come in and tell this story.’  But I feel it’s a universal story and anyone should be able to make a movie about anything they want.

Do you think that was part of the reaction when the movie screened at Cannes?

I guess so. I think it’s still a loaded topic there. But, again, some people were really supportive and loved our take on it, and then there are some people that still feel that we shouldn’t...

The negative take was the one that sort of spread through the media.

Yeah.  It's much more interesting, the story that five people booed at it. You don’t talk about the hundreds of people that applauded.