One of the manifestos of the film is actually to get rid of this idea of the muse, which is a nice word that actually hides the participation of women in art history. A muse is this fetishised, silent woman who is inspiring just because she is beautiful. We know that even though for a long time opportunit[ies for women] were to be models, these models were in the room, they were co-creating, they were one of the brains in the room, so of course the goal was to actually portray that; to make a love story and co-create dialogue with that quality so [that] in the process of the film, where we take you, she becomes that brain. On the set I think movies always reflect the way they were done and the politics of th[is] set was that there was no muse… the set was quite cerebral.
