Karyn Kusama scored an Emmy nomination in 2022 for directing the pilot of Showtime’s Yellowjackets. Now there is talk she could repeat that feat this season for her return to the directing chair for the drama’s shocking Season 2. As an executive producer of Yellowjackets, she has had a significant impact on its continually building popularity, and she is proud of it because it is just another example of her career-long effort to tell stories revolving around women. In fact, all but one of the movies she has directed had a female protagonist at their center.
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Kusama joins me for the latest episode of my Deadline video series Behind the Lens, where we talk not only about why Yellowjackets is working but also how it has grown to be a significant hit for Showtime. We also cover the waterfront of her successful filmography, beginning at the turn of this century when she directed and wrote the 2000 Grand Jury Sundance prize winner Girlfight, which also won her the Best Director award there. Since then she has alternated with indie films such as The Invitation and Nicole Kidman-starring Destroyer and star-filled major-studio projects including 2005’s Aeon Flux and 2009’s Jennifer’s Body. The latter has gathered quite a cult following since its initial release and was the follow-up script for Diablo Cody following her Oscar-winning screenplay for Juno.
We also talk about Kusama’s impressive TV résumé with directing gigs on such shows as Billions, The Man in the High Castle, Halt & Catch Fire, The L Word, Masters of Sex and Casual. Along with Yellowjackets, also has directed episodes this season for Dead Ringers, with Rachel Weisz in dual roles, and The Consultant.
Additionally we talk about the state of directing itself. Kusama just served on the negotiating committee for the Directors Guild and tells me the experience was eye-opening in earning what she characterizes as a “historic contract.”
To watch our conversation click on the video above.
Join me every Monday and Friday during Emmy season for another episode of Behind the Lens.
