Jordana Spiro is a director, writer, and actor currently starring in the Netflix drama “Ozark.” She has directed three short films including “Skin,” which premiered at the 2012 Sundance Film Festival and also won the Women In Film/CalmDown Productions Grant. Through the Sundance Institute’s Directors Lab and a Cinereach grant, she developed “Night Comes On,” her feature debut.
“Night Comes On” will premiere at the 2018 Sundance Film Festival on January 19.
W&H: Describe the film for us in your own words.
JS: The film is about a young woman, Angel Lamere, who is released from juvenile detention on her 18th birthday. Tormented by her past, she enlists the help of her 10-year-old sister, Abby, to avenge her mother’s death.
W&H: What drew you to this story?
JS: I wanted to create a story with a strong female protagonist who was in the midst of an existential crisis. At the same time I was volunteering with an incredible organization called Peace4Kids that provides a safe community for foster youth to grow and discover their greatness. I learned so much about resilience and bravery amidst trauma through these young people.
However, because that background was not my own, it was imperative to collaborate with a writer who could understand the uniqueness of this background firsthand. Once I began co-writing with Angelica Nwandu — whom I met through P4K — the script came to life.
W&H: What do you want people to think about when they are leaving the theater?
JS: I’d like people to be reminded of the awesome and essential power of human connection.
W&H: What was the biggest challenge in making the film?
JS: One of the hardest on my heart was being away from my daughter for so much time. This film needed all my attention and focus over the span of several years, and since it was not my source of income, it was very difficult to justify. But at the end of the day, I think there is real value for your child to watch you truly grappling with something.
W&H: How did you get your film funded? Share some insights into how you got the film made.
JS: Financing required the most persistence. We couldn’t find it through the traditional route of production companies. We got a lot of “love it, but we already made our female film this year” or “our black film this year.” We needed people to come on board who believed in the story, who wanted to help make it a reality and support the vision as their first priority.
There were many moments where I just wanted to give up. But finally and fortunately, through the Sundance Catalyst program, we were able to meet those people and foundations. So, while it took a couple of years of relentless doggedness, the good news is that those people are out there. I am very grateful for Catalyst and for what actually ended up being a dream team of investors.
W&H: What does it mean for you to have your film play at Sundance?
JS: It’s a dream come true and a beautiful culmination of a very long road to get this film made.
W&H: What’s the best and worst advice you’ve received?
JS: Best: “Be brave and trust your instincts.” You will never feel ready, so just jump in!
Worst: From my own negative self-talk, “Don’t trust your instincts, and don’t jump in until you have crossed every T and dotted every I.” That time will not come.
W&H: What advice do you have for other female directors?
JS: Something that was a struggle for me is, don’t say you like something when you don’t because you don’t want to be rude. It’s important that you are voicing your opinion constantly with so many different departments. Surely you want to expand your vision with the perspectives and expertise of the artists you choose to collaborate with — and there will be budgetary compromises needed as well — but try not to allow yourself to approve something because you just don’t want to be a nuisance.
W&H: Name your favorite woman-directed film and why.
JS: My favorite film — by any director, not just female — is “Ratcatcher” by Lynne Ramsay. I had never seen a film that had been told through such a poetic perspective until I had seen that one. It changed my life and made me want to be a filmmaker. Each frame holds the reminder that beauty can lie in the smallest detail. My other top films are “La Ciénaga” by Lucrecia Martel and “The Piano” by Jane Campion. Each one of these films changed my understanding of what a film could be.
W&H: Hollywood is in the midst of undergoing a major transformation. Many women and some men in the industry are speaking publicly about their experiences of being assaulted and harassed. What do you think of the recently announced anti-sexual harassment Commission made up of industry leaders? Do you believe that it will help make systemic change? What do you think needs to be done to address this issue?
JS: For the first time in my life, I feel the real power of the movement at hand. I am interested in the Commission’s attention to a multi-pronged approach, and I am eager to see what that means. The women who are leading the charge with Time’s Up and the Legal Defense Fund are blowing me away with inspiration. I am moved to tears to be able to shake off the unhelpful layer of my own skepticism. This is a very special, very powerful time. The time is now.
