Oscar-winning producer Dede Gardner looks back at her groundbreaking awards darlings, from the triumph of ‘Moonlight’ to her new feminist underdog, ‘Women Talking.’
It felt like a really collaborative endeavor. She was nervous about directing. She has three little kids and so [Frances McDormand] and I said, “Well, let’s do it the way we need to do it. Let’s do 10-hour days.” What was so enlightening about it is you realize, Oh, one can do this. You can do this properly, and it makes for a better experience, and I believe probably makes for a better film. So we should probably just do this as a rule, or certainly put it on the table.
Two things. One, we knew just cinematically and for the experience of sitting in a theater, you had to get out of the hay loft, you just had to. It also felt really essential to show what a colony looks like and understand the ruralness and the proximity and the network, the kind of constellation of it. And yeah, I don’t think the subject matter is a small subject matter, so I didn’t want to treat it that way.
Going back to what we touched on earlier. The film’s best-picture nod hardly felt assured by nominations morning. Pieces circulated commenting that men in the Academy weren’t going to go for this, which I suppose wasn’t exactly true in the end, but it didn’t do as well as initially hoped.
It upset me. I was really bummed. When you read, “Well, men won’t see this,” you think, Why not? Truly, tell me why not? And if you believe that, then use your platform to say, “Maybe because of the title you’ll be disinclined to see it, but I’m telling you, go see it.” If they’re not doing that then maybe they’re not liking it in the first place, and then I don’t really know what to do. The conversation of and the questions asked by this movie are for everyone.
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