“It is impossible to not be impressed by Lindsay’s command of the script, her ability to run off pages and pages of dialogue flawlessly, her active and vital engagement in the storytelling, in camera angles, in the mechanics of filmmaking. She is extremely alert, likely in part from acting at such a young age. And, like Marilyn, there is an affinity for the camera. Lindsay looks great. She is what the French call ‘La Femme Eternelle.” She has a beauty, a facial architecture that is naturally stunning and best suited for capture with the least amount of makeup. There was a continuing dialogue between Schrader and Lindsay and her talented make-up artist David Hernandez about which makeup schemes to use, and production always advocated the same thing: less is more. We wanted Lindsay to just be Lindsay. Hard to see how you could improve on her natural beauty. That combination, her dramatic skill (Marilyn of course wanted to be taken seriously as a dramatic actress because of her success with lighter, comic fare and Lindsay I think having grown up in big, commercial, mainstream Disney family films also aspires to demonstrate her mature talent) and her beauty puts in her in a rare category. Elliot Erwin said of Marilyn, “the camera was crazy about her…it was hard to take a bad photo of her.” And so it is with Lindsay. Working with an auteur like Schrader, in a finely observed, dramatic and dimensionalized script by Bret Ellis, showcases her in a new way.”

– Braxton Pope (producer of ‘The Canyons’) | Don’t Call It a Comeback (she’s been here for years)