http://www.vulture.com/2016/07/jill-soloway-i-love-dick-c-v-r.html

As Soloway explained in a suite at the Paisano before the day’s shoot got under way, she identified intensely with Kraus’s decision to use her own name, biography, and, as Soloway put it, her “horribleness.” It helped her, she says, to reframe the shame she herself once felt about her TV writing: “I don’t know how to write about anything other than myself. I can’t write about dragons, I don’t care about crime, I don’t want to write a hospital show. I only want to write about somewhat unlikable Jewish women having really inappropriate ideas about life and sex.”

A couple of hours earlier, Soloway, still working on a takeout breakfast of bacon and eggs, had been huddled with Gubbins and her regular director of photography, Jim Frohna, in a quiet corner of the Paisano, mapping out the camera angles and choreography of the dinner scene. It was the “heart of the show,” Soloway says, the catalyzing moment for the journey of self-realization Chris would go on. The conversation was spirited, high-minded, and abstract, with much talk about femininity and the male gaze, but it came down basically to viewpoint — who was seeing what and by whom, who was telling what and to whom, whose story was being told and by whom. When Soloway came up with a bit of inspired blocking — Chris announces that she’s going to take Dick’s seminar and then sits down at the same time as he stands up, signifying a transfer of power — she and Gubbins started hopping around, doing a little happy dance. Chris was refusing to be silent, to be objectified, to be told whom she could love and what she could write about. “It’s just so powerful for a woman to say, ‘No, I’m not the object of your story,’ ” Soloway says. “I’m not either the Madonna or the whore, I’m not either the woman that you love or the woman that you hate. I’m the subject. Just that simple sentence is enough to upend the entire planet.”