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How ‘She Said’ received survivors like Ashley Judd to talk out once more

When director Maria Schrader and screenwriter Rebecca Lenkiewicz started creating “She Said” as a movie, they rapidly established a number of floor guidelines.

Their dramatization of the New York Times investigation that toppled Hollywood producer Harvey Weinstein and triggered a world reckoning wouldn’t embrace visible depictions of sexual assault or harassment. Instead, the survivors — some even enjoying themselves — would recall the incidents utilizing their very own phrases.

There could be no feminine nudity and no brutalized victims on the crime scene. Survivors could be absolutely rounded people, outlined extra by their bravery and resilience than their encounters with an abusive Hollywood energy participant.

And, in arguably essentially the most radical departure — given the outsize affect he wielded within the enterprise and the trade’s enduring fascination with violent predators — Weinstein himself would exist on the edges of the story. In truth, the viewers would by no means even see his face.

“The film is not about Weinstein, it’s about a collective of women who break down decades of silence through their bravery,” stated Lenkiewicz, who started adapting the investigation by Jodi Kantor and Megan Twohey even earlier than it was revealed as a ebook in 2019. “We all felt that Weinstein had taken up enough oxygen for several lifetimes and I couldn’t envisage writing a script with him in it.”

A propulsive procedural that, just like the Oscar-winning “Spotlight,” reveals the persistence, institutional assist and good, old school shoe-leather reporting it takes to uncover long-buried truths, “She Said” is a celebration of the decided journalists who managed to crack the case and, particularly, the unsung girls who got here ahead to share their tales after their Hollywood careers have been sidelined.

Tellingly, the movie opens from the attitude of Laura Madden (performed in flashback by Lola Petticrew and within the current day by Jennifer Ehle) as she stumbles onto a seemingly magical movie set in Ireland. But the spell is rapidly damaged: Seconds later, we see her working, in a panic, down metropolis streets. Later, we find out how Weinstein lured her to a resort room, requested her for a therapeutic massage and pressured her into undesirable sexual contact — a decisive sample that will emerge within the accounts of many survivors.

Lola Petticrew as younger Laura Madden in “She Said.”

(Universal Pictures)

Along with Madden, two different girls grow to be essential sources within the investigation — and characters within the movie. Zelda Perkins (Samantha Morton) and Rowena Chiu (Angela Yeoh) have been each assistants in Miramax’s London places of work within the late ‘90s when Chiu told Perkins that Weinstein had attempted to rape her at the Venice Film Festival. Perkins reported Weinstein’s alleged conduct however was, together with Chiu, pushed to signal a complete nondisclosure settlement. Both girls in the end left the movie enterprise, as did Madden.

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“Famous actresses got much of the attention during the #MeToo explosion, but these little-known women were in many ways the heart of what happened,” Kantor wrote in an e mail. “To me, this film returns them to Hollywood with a dignity and respect they were never given the first time around.”

Kantor and Twohey facilitated introductions to those sources, and as she started writing the script, Lenkiewicz frolicked with Perkins, Madden and Chiu. “I wanted them to feel safe in the space of the film: [to know] that we weren’t just hijacking their lives, that we absolutely respected them and admired them for being for being part of the project,” she stated.

“The attacks are described because I think it’s important for people to know the trauma and the authentic voice of the survivors. Just the retelling is enough,” stated Lenkiewicz. “I’m very conscious of the male gaze, how it’s been there for decades, and it’s really liberating to turn that around and just have women center stage — being active and working together and not having to take their clothes off.”

Whenever they might, the filmmakers integrated actual survivors and their accounts, giving “She Said” an nearly documentary really feel at occasions. We hear the precise audio recording of Weinstein harassing mannequin Ambra Battilana Gutierrez and acknowledging a previous assault as a result of, Lenkiewicz stated, “It was very important to understand how Weinstein worked — that it was very hard to negotiate or navigate against the force of his will.”

But the tape is accompanied by pictures of empty resort corridors, not actors doing a re-creation.

A woman sits with her two children on a leather sofa, watching TV.

Jennifer Ehle as Laura Madden in “She Said.”

(JoJo Whilden/Universal Pictures)

“[As] you listen to something which is very physical, you almost have a fantasy of these two bodies as one tries to escape, but we chose the opposite: to have a very steady camera moving through the corridors,” Schrader said. “[Cinematographer] Natasha [Braier] and I always tried to stay away from illustration.”

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In the film’s final act, as the New York Times prepares to publish the investigation, we hear Weinstein’s real voice on the phone with Kantor, Twohey and their editors. (Seen fleetingly from behind, actor Mike Houston also makes a brief appearance as the producer in a scene in a Times conference room.)

Actors Gwyneth Paltrow and Judith Godrèche, both of whom eventually went on the record to accuse Weinstein of harassment, also lend their voices to “She Said.” Former Weinstein Company employee Lauren O’Connor reads the scathing memo she wrote in 2015, which became a key piece of evidence in Kantor and Twohey’s initial investigation.

“Everyone was invited to be involved,” Lenkiewicz said. “There was also a conscious casting of survivors in different roles.”

Ashley Judd, the most high-profile celebrity to go on the record in Twohey and Kantor’s initial report, appears as herself, recalling how Weinstein lured her to a suite at the Peninsula Hotel 30 years ago and badgered her to give him a massage or watch him shower. (Her story is accompanied by images of a luxurious hotel suite.)

Judd reviewed the script and gave feedback about the wording of her account, Schrader said: “Ashley was in from the first moment I met her. She’s an incredible, impressive person.” The moment Judd decides, after much discussion, to go on the record with her allegations marks the emotional climax of the film.

Like Twohey and Kantor, the filmmakers had to convince the survivors they could be entrusted with telling their stories.

“We tried to treat the accounts and the scenes with survivors with as much care as Jodi and Megan did” in their reporting, said Schrader, whose series “Unorthodox” explored related themes of female agency and sexual trauma. An actor for many years before she became a director, Schrader recalled how the reports about Weinstein in 2017 made her reconsider “little incidents and then not-so-little incidents” she experienced in the business and begrudgingly accepted.

A woman reaches across the table to another with a file

Samantha Morton as Zelda Perkins, left, with Zoe Kazan as Jodi Kantor in “She Said.”

(Universal Pictures)

“I was definitely one of these people who tried to not be affected, or tried to meet it with humor,” she stated.

Hollywood is infamous for taking beneficiant liberties with something “based on a true story” — rearranging timelines, altering characters’ names and inventing conversations out of entire material. The delicate nature of the fabric in “She Said” demanded a extra cautious method.

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Lenkiewicz estimates that about 95% of the story is correct, although she took “tiny liberties” for the sake of dramatic influence. After all, “hearing a phone call is more exciting than reading an email,” she stated. “It’s the truth, just a bit more animated.”

Twohey and Kantor talked to Mulligan and Kazan about their methods for interviewing survivors.

Mulligan needed to know “not just what words are said but in what tone and with what body language. She also wanted to know how we contain our emotions as we report into such upsetting discoveries,” stated Twohey, who shared some recordings with the actor. “It was really moving to see all that research expressed on screen.”

“Those kinds of interviews are hard to get right in life, let alone on film. You’ve got to be empathetic but also assess the strength of the account. You’re also trying to earn trust in the investigation,” stated Kantor. “In those interview scenes, [Kazan]’s so restrained, giving the spotlight to the woman telling the story. But because she’s such an expressive actor, you can see the emotions glinting beneath her professional demeanor.”

To improve the movie’s feminine perspective, Lenkiewicz integrated elements of Twohey and Kantor’s private lives that have been largely omitted of the ebook. “I wanted to put in as many aspects of being female as possible,” she stated. “Megan and Jodi both have daughters, and I didn’t think that working mothers had been depicted often, or very well.”

Both reporters are always juggling calls that come at inopportune moments — on the physician’s workplace or throughout household outings. In one of many movie’s most relatable moments, Kantor jots down her Netflix password and arms it to her daughter whereas she’s on the telephone with a supply.

Twohey, in the meantime, is thrust into the Weinstein investigation instantly after coming back from maternity go away, whereas recovering from postpartum melancholy.

“I will confess that I felt a bit vulnerable making this leap, especially with one of the more painful chapters of my life,” stated Twohey. “But the more we talked with the filmmakers, the more we came to see this as a real opportunity. Our hope is that other working mothers will identify with these characters and feel seen by the film.”

And that, stated Lenkiewicz, is the final word purpose of the movie: “If it opens up conversation and if it makes anyone feel solidarity with other women, then we’ve done our work.”

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