Sarah Polley, Director of Women Talking, explains how’many voices made women talk’

Women Talking This film is about collective action. This moving, austere drama follows a group of Mennonite women as they learn they have been drugged and repeatedly sexually assaulted — not by strangers, but by brothers, husbands, and neighbors in their own isolated community. Multigenerations of women hide in a remote hayloft as the men go to bail out some of the perpetrators. The clock is ticking and the men are still away, so the women gather in a remote hayloft with one goal: to decide together whether they want to stay, fight back or leave to forge a new tomorrow.

It is a compelling examination of democracy in action. Perhaps it is not surprising that the writer-director chose to direct. Sarah Polley Her set should be equally collaborative. Polley — the Canadian actress-turned-director known for projects like Go and The Sweet Hereafter — approached Women Talking with a decidedly egalitarian spirit, urging her cast and crew to share suggestions on set. (The film’s starry cast includes Rooney Mara, Claire Foy, and Jessie Buckley.) The film is a stunning achievement that tackles issues such as womanhood, power and, most importantly of all, hope.

Here, Polley discusses how Miriam Toews’ 2018 novel was brought to life on the screen.

ENTERTAINMENT WEEKLY. Let’s go back to the time you first read Miriam Toews book. What made you want this film to be made?

SARAH POOLLEY: The book seemed to wrestle with some core issues that I have struggled with my entire life, both consciously as well as unconsciously. It did it in a way that I had never seen before. It raised many questions as it answered. That’s what I consider the mark of a truly powerful piece of writing. I found it fascinating that actors of great calibre could have a conversation like this, making it cinematic and giving it a wide canvas. It was also a lesson in democracy and how it can look at its best. It didn’t limit democracy to voting only once every four year. The conversation was actually a lengthy one between people who disagree on many issues, but are forced to agree to a plan of action.

This film follows that line of universality and hyper-specificity. It is based on a true story from BoliviaIt is very specific to Mennonite life. However, it does get at the big ideas of democracy. What was it that you found interesting about this contrast?

It made the film feel more like a fairy tale. It’s like a feeling that can wash over you, allowing you to map your life and address your problems onto it. This particular, isolated community was a extreme version of what we all see in secular society. This allowed us to see it more clearly, given the variety of issues and discussions that surround us.

A remarkable group of actors was assembled. How was the casting process?

It took quite a while. It was very tedious.s It was a complicated process as we couldn’t cast just one person before we cast everyone. We felt like we were casting an organism. Once we had a complete picture of the organism, we could not make any decisions about one person.

Under very stressful circumstances, everyone must work together as a group. It was like performing a play over-and-over. Harmony is the key to making it work. It’s not to say there shouldn’t be conflict. However, it had to be healthy conflict. The casting process involved determining the right chemistry between the personalities brought to the hayloft.

It is the setting for most of the film’s action. How was it set?

The exterior was located outside Pickering, a small town near Toronto. We sort of reproduced it [in a studio]Peter, our production designer, was very creative in how he designed the interior. We wanted to create a space that allowed for these exchanges, but also felt like a cathedral. There were many portals that let light through the space.

As a filmmaker, I can imagine it would be great to have some of those high ceilings and open windows.

Yes, you can see out the window to see what time it is. Because of the ticking clock and having to make a decision within a short time, light became a prominent character in the film. In designing everything, it was important to consider the passing of time as shown in the sun’s movement.

Michael Gibson/United Artists Releasing The cast of “Women Talking”, including Jessie Buckley (left), Claire Foy, and Rooney Mara.

I was curious about the film’s visual language. Although it’s beautiful, the film has a very muted color palette. Is that what inspired this choice?

It couldn’t have looked real. This is an oddly surreal experience. There is much debate over whether they would move the colony in the time they have. While it’s what most people want, there is something more about the language they use. The premise is heightened. It’s not a true story, but a fable. You are not being asked to watch a documentary about a historical event. These are the questions we want you to ask.

Partly, the concept was inspired by the idea of a world that has already passed. It’s like a faded postcard. This gives it the feel of something you look back on with some nostalgia but not a clear memory. The world they are talking about is already gone, just because they started this conversation. This was one of the things we had in our heads.

Original concept was to shoot in black-and-white. However, when we tried it with costumes and the feel of film, it felt strangely dark and judgmental. We ended up playing with saturation a lot and that’s where it all came to an end.

Ben Whishaw’s August is the narrator. But you switched the narration to Autje (played by Kate Hallett). How did you make that decision?

I meant that I loved the narration style in the book. August was my favorite narrator. It was also my instinct that the same would work in the film. The medium required more intimacy and connection to the experience of the women. This was a collective effort to discover that Kate’s voice was what needed to carry the film. The youngest person in the room should have the most power to direct the story into the future. It was an interesting editing process. I kind of entered a second writing process to discover who that voice was. It was that 16-year-old girl trying to escape the trauma she experienced and trying to create a new world.

The film has many different generations of women, which is something I love. How was it to work with such a diverse group of actors on set?

It was incredible. It was an amazing community of actors that developed, with a feeling of being very egalitarian. There was no hierarchy. Both the younger and older actors were generous. There was a strong sense among them of respect, support, and warmth. They shared a green area, and they never let anyone in their trailer. They shared a space every day, even when they weren’t shooting. There was plenty of opportunity for this community to grow.

How have your acting experiences influenced your approach to directing as a filmmaker?

I think I’m aware of some of the things I would’ve liked to experience as an actor more often, and that I did get to experience occasionally — which is a sense that it’s a safe environment, and your well-being is actually more important than the film. Everyone on a set’s mental health is more important than any product they are creating together. [When you] This is because I believe people actually give more of their self. It doesn’t make a less valuable thing. You value the experience that people have in making it happen, not the item itself. People become more invested, which is a nice side effect. Although it is not the end goal, it is a nice side effect. This is what I consider my primary goal. It’s not my goal to always succeed at that. I know there will be times when I fail but that is my strongest intention.

Particularly in a story such as this where you are dealing with difficult subject matter, it is helpful to foster a supportive creative environment.

Yeah. People are asked to share their stories and be vulnerable. This can’t happen in an environment that doesn’t make people feel safe and taken care of. Do I believe I was 100% successful? Absolute not. But, I do believe that the film could not be made any other.

Although the film takes you to some extremely dark places, there are moments of laughter and catharsis. How did this film get its tone and thread?

I don’t think there is any tragedy that hasn’t been met with humor in my own life. [Laughs] I have never been through anything that was so traumatic it couldn’t make for a great story. If it’s not funny, it’s unlikely that you’ll buy a film that is very difficult and intense. That’s how I experience being human.

If you look back on filming, which was your most memorable day?

One scene in the film is a scene that shows an apology between two characters. One character hasn’t protected another. I directed that scene in collaboration with crew members who had suffered abuse but not their parents. It became a collaboration between Sheila & I. [McCarthy] Crew members who were willing to share their personal experiences. We were able to bring it to a level that no one could have reached on their own. This is to me one of the most important moments of the film. It was a time when many voices and experiences came to the table. This was something that I’d never had before. I was so grateful to have a crew that was as invested in the film as we were, and that they were willing and able to share their stories and help shape it.

It would be so satisfying, especially for a film such as this one, which is about many voices coming together.

Yeah. Another memory that comes to mind is when an actor was having trouble. There was a rule in our group that we could stop if necessary. It was early in rehearsal. One of the actors was having trouble with a very intense scene. We went outside for a bit, and I said, “We can return home.” We don’t need to go on. The actor stated, “I’d love to stay. I only need a few moments.”

When she returned to the room, all the cast had moved and formed a circle on top of each other. The whole cast had left their places and she was now a part of this circle of actors. That was her first week. This moment is what stands out to me. It’s like “Oh, this will be an unusual experience with a very uncommon group of actors who really are going to take care each other.” It stood out to me because it was something I hadn’t seen before. And it was something I was so thankful to be able to witness.

What was the biggest challenge you faced in this project?

It is my opinion [can be hard] You do things differently if you are using a different process. We are used to seeing a dictatorial male auteur filmmaker. [the director] Knowing exactly what they want is key. Everyone must figure out how best to help that person. This film taught me to be more open about my process. Although I do have a vision, it is very clear and the result of a collective effort. It’s not that I don’t have strong ideas. I would guide and shape the process. But the process is feminist. It’s not what a loud, dictatorial male leader’s process looks like. That doesn’t mean it’s less. That was the difficult part.

I think that in the future that will be much easier because I’m so thrilled with how this process has led us. [on Women Talking]. There are many things that I learned and things that others contributed to that I wouldn’t have known about if my only focus was on barking at everyone. [Laughs] My main problem was my anxiety about the novelty of it, and I doubt I’ll ever have to do that again. This was my personal trial-by-fire, and I’m very proud of how it turned out. It was something I would do again.

This makes sense. It is helpful to have one voice when you are creating art. However, you must also allow for collaboration.

Yes, I prepare for hours before I start filming. Although I don’t make many films, I spend a lot time planning each shot. It’s not difficult to figure out what the shot will look like. I Want to see. The thing about filmmaking is that we often lie about it. While I insist on being collaborative in making this film, it is not true that all films are collaborative. And most directors who claim their ideas are theirs are not. It was something I saw firsthand as a director. It’s something I’ve seen DPs, production designers, actors and crew members suggest that make the best film moments. But it’s not talked about because everyone loves the mythology of the single vision genius. This has always been a bit misleading. On the one hand, I wanted to emphasize the more feminist process in this film. But, on the other side, I feel we’re just being open about something which has been there since forever. This is an intrinsically collaborative art form that includes many voices. Nobody should take credit for ideas not their own. 

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