Sexism on set made Sarah Polley 'squirm.' So she made a film by a new set of rules
” in 2007, being behind the camera again was more thrilling than she could have predicted.
The film builds on themes of trauma and memory that have infused Polley’s previous work, including “Away From Her,” which looked at the effects of Alzheimer’s on a long marriage.
It had changed hugely. I just was so used to the texture of a film set being so much about casual sexual comments, jokes that you kind of laughed along with but made you squirm. I didn’t realize how oppressive that environment of constant casual sexism and misogyny had been until it was gone. It’s not like it’s all solved, but there is a kind of public-facing acknowledgment that this isn’t acceptable. I felt like I was also no longer apologizing for being a director.
My instinct, I know, would have been to stay and fight. But the process of making this film changed me enough that I’ve shifted towards the idea it’s better to build a new table than get a seat at a rotten one. My parents didn’t have the life I have, so they didn’t have the knowledge I do of what it means to be a child actor. I can see how easily you could see a window into a world that you can’t get your kid access to another way. There’s also a class issue here. A lot of the kids on sets — and I was one of them — our university education wasn’t all taken care of. It’s really easy to judge, from my position now, a parent who makes that choice.
I had this really interesting experience with my 8-year-old the other day. Their assignment had been to write a story about their life. And they wrote the story about how they had this major tongue laceration [when they were younger]. And I was like, “Oh, how did you tell the story?” My kid said, “I told the story of how my my tongue got cut and daddy stayed with me all day at the hospital.” And I went, “Daddy wasn’t there. Daddy was in another city.
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