Lauren Greenfield and Jackie Siegel at the NY premiere of "The Queen of Versailles," hosted by The Peggy Siegel Company at MoMA.
Kristina Bumphrey/Starpix Lauren Greenfield and Jackie Siegel at the NY premiere of "The Queen of Versailles," hosted by The Peggy Siegel Company at MoMA.

Acclaimed documentary filmmaker and photographer Lauren Greenfield ("THIN") didn't know what she was getting herself into when she approached billionaire Jackie Siegel (wife to timeshare titan David) at a party hosted by Donatella Versace. Greenfield's initial intention was to photograph Jackie for a photographic work about wealth, consumerism and the American Dream. But as soon as Greenfield found out that the Siegel's were in the midst of building the biggest home in America, she picked up her camera and began to document the family's day-to-day routines.

Cut to five years later and the result of their time spent together, "The Queen of Versailles" (the Siegel's modeled their new home on the Palace of Versailles), has a twist in the tale none of them could see coming -- the family ended up in dire financial straits that are a result of the 2008 stock market collapse. What began as a study of unimaginable wealth became a timely expose on our current financial climate.

Ahead of its release this Friday in select theaters, Indiewire caught up with Greenfield to talk about the film's remarkable journey, and figure out why the Siegel's continued to let the cameras roll even when their world began to collapse.

The Queen Of Versailles

You obviously didn’t know, going into this, the outcome of the situation -- one which really gives your film a reason for being. What were your initial intentions in making this film?

I had been photographing a project about wealth. When I met Jackie, I was photographing Donatella Versace. She was out at a Versace party in Beverly Hills and she was one of Donatella's best customers. At the time she was spending a million dollars a year on clothes, and she was building the biggest house in America. So I thought it would be a story about Jackie and her family with the background of building the biggest house in America.

Something was really appealing to me about Jackie: she was from humble origins and she was living this outsized kind of fantasy life. But in a way, it seemed a very American story because she had a relatable down-to-Earth quality, even though she was a billionaire. She was an unusual rich person. She didn’t have that protective veil of wealth, and she had a generosity of spirit that I thought was unusual and compelling and also let me in.

When I went to the house and saw that she had eight kids (including one she had adopted from poverty) and this array of domestic help from all different cultural backgrounds, I thought it was going to be an upstairs-downstairs story of Jackie and the house. I was captivated by the characters and the setting, but there wasn’t really a story per se.

"I think the thing about Jackie and David is they know that they’re extraordinary people."

How did you sell that approach to Jackie?

That it was a story about them and building the biggest house in America. I think the thing about Jackie and David is they know that they’re extraordinary people. It’s not like when you ask somebody if you can film them and they’re like, “Why me?” There was never any of that.

They both are very proud of their stories. David’s proud of his legacy. Building the biggest house is more about, “I built it because I can.” It’s an expression of his success. He’s proud of that success. And it’s more being able to do it than actually wanting to live in it. I think he cares about that less.

How long did you spend with the family over the course of this journey?

We were filming about ten trips. And each trip was usually between five and ten days.

It's amazing that they continued to let you film as they their empire began to crumble. Why didn't they stop you?

I think that really was the amazing thing and something that I was incredibly grateful for and felt very privileged to be a part of. In the beginning, in David’s first interview, he has a boastful air. I’m slightly intimidated by him while I’m filming and I brought in that first scene where I’m photographing them on the chair. You can see my relationship to them and the way they’re also posing for me. And then that breaks down over time and they become very candid.

I felt that in the interviews with David, you catch an unexpected candid quality from a man who often is very isolated at home in his man cave. And not somebody I would develop idle chatter with. I would set up this interview and gave him that respect and he would really reveal himself. I always felt privileged.