In Conversation With Danishka Esterhazy
Writer & Director of LEVEL 16: A Feminist Dystopian Sci-fi Thriller
1) Could you tell our readers a bit about yourself — childhood, education? Was there any early influence of film/arts in the family that pursued you into making films?
I grew up in Winnipeg, Canada. A town that’s sometimes known as Winterpeg. The winters are very long. Which is perhaps why so many artists come from Winnipeg. There were no filmmakers in my family. But there is a great film co-op there called the Winnipeg Film Group. I got my start as a director making experimental films at the WFG. And quickly became obsessed with filmmaking. After making a few dozen short films, I moved to Toronto where I studied directing at the Canadian Film Centre.
2) Could you talk about your experience being part of a film crew for the first time?
When I was making short films at the Winnipeg Film Group, I tried out all the crew roles. Writer, director, editor, cinematographer, producer, assistant director, set decorator, props master. Also, grip, electric, transport, craft service, and PA. All the crewmembers on WFG shorts are volunteers so we would take turns crewing other member’s short films. And I took workshops in camera, lighting, editing. It was a great education.
After a few years of part-time volunteer film work, I quit my job as a music teacher and started working full-time as a Director’s Assistant. I worked on several American television movies shot in Winnipeg. Those jobs were memorable because the hours were long and the duties ranged from highly creative (drawing the director’s blocking diagrams) to the opposite of glamorous (cleaning muddy boots). But I learned something from every job.
I remember the frustration of loving films so much but seeing so few stories about women. The heroes were always men. The villains were always men. Often, the entire cast would be male with one (extremely attractive) girlfriend character thrown into the mix.
3) You have carved a niche with your stories by featuring women at the center of it. What motivates you to make a film about a certain type of woman? How do you go about choosing what stories to tell?
I was a voracious movie fan as a child and teenager. And I remember the frustration of loving films so much but seeing so few stories about women. The heroes were always men. The villains were always men. Often, the entire cast would be male with one (extremely attractive) girlfriend character thrown into the mix. I would call these movies “Smurfette” movies. A world full of men with one lone female character. So bizarre. I wanted better movies to watch. When I make films now, I try to correct that problem. By telling stories with diversity in gender, race and sexuality.
A film career is difficult for everyone. But a career as a director is substantially more difficult for women. So few women are given film budgets that would allow us to create ambitious films, to compete at the top level of our craft. It is a frustrating reality.
4) What do the words diversity and inclusion mean to you? Could you share your challenges in finding your space within the industry?
Traditionally, the film industry has most definitely not been diverse. It is an industry that has celebrated white men and eyed all others as outsiders. This has changed — but not enough. Not nearly enough. The jobs, the funding, the distribution, and the awards are still overwhelmingly given to white men. A film career is difficult for everyone. But a career as a director is substantially more difficult for women. So few women are given film budgets that would allow us to create ambitious films, to compete at the top level of our craft. It is a frustrating reality.
5) You’ve created/worked in numerous award-winning productions, and I am pretty sure financing has always been a department one would face with dread. Do you have any advice for filmmakers about securing funding for projects?
Argh. Indeed. My advice is to grow some thick skin. Because there will be so much rejection — even on films that eventually get greenlit. It took me 10 years of pitching to get my film Level 16 funded. But I didn’t give up. Don’t give up.
For years, I could not convince funders and distributors to back the film. I was told again and again that women don’t watch science fiction and that fans don’t want dystopian stories about women.
6) Could you talk about your dystopian sci-fi Level 16? May I add that the trailer looks intriguing!
I first wrote Level 16 after graduating from the Canadian Film Centre. I wanted Level 16 to be my first feature film. But, for years, I could not convince funders and distributors to back the film. I was told again and again that women don’t watch science fiction and that fans don’t want dystopian stories about women. But I eventually found an amazing producer (Judy Holm of Markham Street Films) and we kept fighting to get the film made. In the meanwhile, I made two other feature films — Black Field and H&G. When the TV adaptation of Handmaid’s Tale came out, I think that changed the funding atmosphere. Suddenly, my feminist dystopian thriller didn’t seem so strange. Timing is everything, I guess.
7) How did you go about the casting process for the film?
Because it took so long to raise funding, I had different cast attached at different times. I would find great young actors to play Vivien and Sophia — but the production would get stalled and those actors would “age out” or get too busy and I would have to cast again. The only actor who didn’t change was Sara Canning. I wrote the part of Miss Brixil for her. But I am very happy with the cast that finally came together. Katie Douglas, Celina Martin, Sara Canning, Peter Outerbridge, Sheila McCarthy — I love them all.
8) As an extension to the earlier question — There is an unnecessary premium given to the body types of women, a certain type that is desirable, and the others, somehow, not so much. You’ve successfully made a film that is said to be devoid of the male gaze — could you talk about your overall experience working with women, where their bodies aren’t the focus?
I worked hard to make Level 16 a film that would not exploit young women. I had zero interest in the male gaze. This is perhaps why it was so difficult to raise funding in the male-dominated film industry. I received lots of notes to make the girls sexy, to dress them in transparent clothing, to show them showering naked, etc, etc. But I wanted to tell an honest story about the inner life of a teenage girl. About the pressures they face to conform, to please, to deny their full humanity. I fought for that vision and I never backed down.
To be a great filmmaker you need to have talent and craft and vision. But you will never get to use those skills if you don’t have resilience. Since I started my film training at the WFG, I have seen many talented filmmakers give up. Because of the rejection, the inequality, the long dry spells of low or little income.
9) Do you have any advice to filmmakers about how to cope with rejections? As I understand, you had a hard time yourself securing funding for your projects, how do you keep the morale up?
It is challenging. To be a great filmmaker you need to have talent and craft and vision. But you will never get to use those skills if you don’t have resilience. Since I started my film training at the WFG, I have seen many talented filmmakers give up. Because of the rejection, the inequality, the long dry spells of low or little income.
I suggest two strategies. First, when you are starting — hold onto a job. Be a waitress, be a gardener, be a Director’s Assistant — any job that is either flexible enough to let you spend time on set or that allows you to unofficially shadow while working on set. Because it might be a long time before your film career actually pays your bills. Second, be very very tough. If you are angry about inequality — let that rage fuel you. If you are passionate about telling unique stories — let that passion fuel you. But find a reason to stick it out because it will never be easy.
Don’t give up because we need new storytellers and we need more diverse stories. Cinema should reflect the whole human story — not just the story of a few.
10) What’s next for you? I am very excited to know that there is a TV series that’s just been announced?
I recently finished shooting two episodes of the new SyFy series Vagrant Queen — which will be released in March. It is a cool, snarky, science fiction action comedy show. The series was created by Jem Gerrard, based on a graphic novel by Magdalene Visaggio, and stars Adriyan Rae. So very much an amazing female-driven show. My episodes have some great fight and stunt sequences where Adryian kicks serious ass. And the main spaceship on the show is called The Winnipeg. So perhaps it was meant to be?
11) Anything else you wish to add?
I am excited about 2020. I have two new feature film projects about to start. I can’t talk about them yet but I am already planning my shots. I can’t wait to get back on set.
Vaishnavi is a writer, self-taught filmmaker among other things. You can read all of her work by signing up for her newsletter.
