From crafting songs to experiencing an eating disorder.
How does one tackle the job of showing one of the most famous people in the world, best known for her extensive catalogue of highly personal and autobiographical songs, in a new light? That's the question documentarian Lana Wilson set out to answer with Netflix's Miss Americana, an hour and 26-minute long film that captures some of the skyscraper highs and subterranean lows of being Taylor Swift.
NYLON caught up with Wilson after the packed Miss Americana Sundance premiere to chat about the making of the film:Lana Wilson: It's been amazing. You know, I made this movie in secret. No one knew about it. And there was something really surreal about it being a complete secret, and then within the first three days of the [Sundance Film] Festival, over 3,000 people had seen it, and now with it coming out on Netflix, it's been astonishing.
You caught a lot of really raw moments of her writing songs — which was trippy and captivating to watch because some were songs we've heard a million times on the radio so to witness that process happen was so wild. Was that something that you always knew you wanted to have be part of this film? It was amazing, too, to watch everything else going on in her life and yet she still just always snapped right back into that space of writing and creating."No one had ever filmed her in the studio. So it was a big deal to do that."
You also had to make decisions about how and if to include events like 2009 VMAs and things that happened with Kanye and Kim. Those events shaped her public image and from what we see now in the documentary, also her internal dramas. What was that process like? LW: It came about organically, and I think it's so brave of her to talk about it. I was surprised to learn that and hear what her experience has been like. And I think what I really liked about that scene in the film is how you hear her thinking out loud. Like it's verbalizing this thought process,"Yeah, I do this now but it's still like, I look at a picture of myself and I start to overanalyze it and I think, 'Nope, we're not doing that again.
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