On its 10th anniversary, more than 60% of Twin Cities Film Fest’s 2019 program are driven by female filmmakers. It’s something I’m happy about of course, but I wish the general statistics about women in Hollywood is something to cheer about. As of right now, according to Women And Hollywood stats, women only make up for a mere 4% of directors.
So naturally I’m intrigued by documentaries that highlight women filmmakers. I featured the doc Be Natural about Alice Guy-Blaché (the Mother of Cinema). This time I had the privilege of chatting with Cady McClain, the director of Seeing Is Believing: Women Direct.
It’s a documentary film which emphasizes the opportunity for women to use their voice through media to change the social and political landscape and achieve full equality. Focusing on inspiring and uplifting young female storytellers through the mentorship and leadership of four diverse directors, Seeing is Believing: Women Direct opens the conversation up to ask “What is the broader role of storytelling in our society and how can women use filmed media as a unique opportunity to catalyze progress?”
The best documentaries are entertaining, insightful and fascinating. Well, this is one of those documentaries and then some. I love that there are clips from their projects along with the filmmakers’ interviews. I also adore the the stunning animation by Chilean artist Xaviera López that supports the themes of the doc.
I learned that Cady McClain is planning of turning this doc into a podcast series with female filmmakers and I really hope that would happen!
Check out the trailer:
Q&A with Director, Producer, Editor Cady McClain
1. What triggered you to make this film as your first feature? I read that it had started off as a 28 minute short, then an 58-minute version before this one (84 min) doc feature?
I actually started out with the idea of doing a feature. But there were two other women who wanted to make a similar feature and we each have our own vision. We all wanted to support each other but also wanted to have our own journey of going about it, which is kind of crazy but that’s how it turned out. So I didn’t want to compete by making another feature, so I thought I’ll make a series. So the short was supposed to be the first episode, the pilot. So I sent it to Soho Film Festival and they called me and said, ‘you should make it into a feature because they think it would be really competitive in their feature doc category.’
When a film festival called you, it was the encouragement I needed. I mean I never made a documentary before, I’ve never trained in documentary, but at least the short helped me understand what documentaries are. Plus I could build it from there, and the 84-minute film ended up winning the Audience Award at Soho International Film Festival which was amazing.
Then we also had a distributor come around who said, this isn’t long enough for iTunes (because it was under an hour). Now I have a little more understanding of how to make the doc feature I had wanted to make in the first place. So I went back and added more women [filmmakers] that I had wanted to but I hadn’t figured out how to fit them in. It’s like weaving a giant quilt to form a certain pattern, and you’re making the patterns as you go along.
2. Out of the filmmakers that were interviewed, I particularly love Lesli Linka Glatter, Li Lu and Sarah Gavron… I love their stories and the way they tell their stories. So how did you choose your subjects?
A lot of it was happenstance. It was who I knew and who people I knew knew… you know, how certain people connect me to certain people. Suffragette [movie] happened while I was making this film, one of my friends who was a member of the DGA invited me to that screening and I was so blown away by it that I wrote to her agent. She said she was too busy touring for this film, but if you fly to London she’ll make time. So I flew to London to interview Sarah Gavron. I was also so inspired by the careers of the people I interviewed.
One was Joanna Kearns (best known for Growing Pains), who was an established actor before she became a director. Some people said it might be easier the fact that we started off as actors, but it’s still very hard to make that transition and to earn your place [as director]. And also with Lesli Linka Glatter, there is a lot of happenstance that comes in any one’s career. As she said in the film, if she hadn’t met that one man in the coffee shop in Japan, she wouldn’t have gone into directing. I learned that no career is a straight line. It’s helpful for me because intrinsically, you don’t just go to film school and then have a film career. It’s a lot to do with the people you’re in school with, the connections you made there, what’s being made now, what are you inspired to make, how you craft your forward movement, etc. Nothing is guaranteed And if you didn’t go to film school and want to be a director, you really have to look around you, what resources are available to you, who are the people you know and what stories you’re inspired to tell. You really have to work with the circle you have around you instead of thinking it’s out there or you’d have to come to LA and expect things to happen.
3. How has your background as an actress help you as a director?
I feel like I could help comfort the actors, even when they push back. Some actors could get very insecure and some deal with their insecurity by becoming very tough. I learn not to take it personally, and just read it as total insecurity as that’s all it is. They need me to be the one in control, to be the strong one. If I’m not the strong one then they get afraid and nervous, ‘oh she’s not in control.’ So they need to know that ‘I’ve got it. You can be nervous and I’m holding the line here for you and I’ve got your back. Everything’s gonna be fine.’
4. Seeing the grim statistics about women in film, what do you think, from your perspective as a female filmmaker yourself, needs to be done in the industry level?
I think there is a comfort factor for the guys. When they work together there is a code of behavior, I don’t know if I would call it a pack mentality, but there’s an unspoken code of behavior. They call it the ‘Boys Club’ for a reason, it’s like in an athletic club you know, if you think about it like that, there is a code of behavior that’s been long held that they’re comfortable with. So when you introduce a randomness, which is the female into that space, they’d have to get into a learning curve. So is this a friendly person, is she going to judge us for our code? What’s their take?? So as a female leader, I feel like I have to be kind about that, and not be like ‘I’m coming in to blow your game away.’ The way I’d do it is to say, ‘I’m coming in to make your show great, to respect the work that you’ve done thus far and respect your set up here, but now I’ll bring in my intelligence, my talent and ability to the story.’ It does take a certain kind of crafting in that conversation, so we can move from a gender conversation but more about ‘let’s talk about the work.’
5. I’m glad you included Alice Guy-Blaché in your film. I watched her doc Be Natural last year and I felt so guilty that I hadn’t heard of her. So who’s been your fave female filmmakers, or those who have helped path the way for you as a filmmaker?
I saw the film ORLANDO, directed by Sally Potter and I was so blown away by it. It’s such a huge production and it’s a stunning story about gender… a person, a being, moving through bodies, through time… yet there is something so inherently similar no matter whether she was a male or female.
There was a glimmer of me ‘Could I do that? Is that possible?’ I was trained intensely by my mother that no, it isn’t something I could do. ‘She [Sally Potter] was British, it’s different over there.’ That old argument… You see, my mom was, you know the 1950s mentality, where if you’re going against the patriarchy if you will, the consequences would not be small. You’d have to have a lot of resilience to buck the status quo. I don’t think she felt she had that external or internal support, she was fighting different battles. She wants us to be safe, you know, she wants us to be happy, to survive. Unfortunately, her understanding of the world of what is possible is so limited. I think for her, standing up for what’s right is more satisfying for her.
What’s next for you? I saw you’re in the process of directing two dramatic features (Paint Made Flesh and Journey to Now)?
I’m afraid I can’t say anything about the projects I’m working on, but yes I’m definitely excited to be working on a narrative feature. Storytelling is what I’m about. Although I enjoyed making a documentary, I don’t want to be branded that I’m only doing certain type of things. I like to jump from medium to medium, I’m glad that these films found me and it resonated in our conversations. It worked out, they like me and then I got attached, so now we’re in long conversations of developing something into being. It all came about in a happenstance way, someone I met while making the doc recommended me for one, and someone else I met through the the process of finding more women directors recommended me as a female director, ‘hey think about Cady McClain.’ I think people who saw the documentary thought ‘oh she could tell a good story.’
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