Abby Ginzberg has been making documentaries about race and social justice for over 30 years. Her directing credits include “And Then They Came for Us,” which won a Silver Gravel Award, and “Soft Vengeance: Albie Sachs and the New South Africa,” which won a Peabody Award. She has produced several docs including the Oscar-nominated short “The Barber of Birmingham.”

“Waging Change” will premiere at the 2019 DOC NYC film festival on November 8.

W&H: Describe the film for us in your own words.

AG: “Waging Change” shines a spotlight on the challenges faced by restaurant workers trying to feed themselves and their families off tips by weaving together stories of individuals — such as Nataki Rhodes of Chicago, Andrea Velasquez of Detroit, and Wardell Harvey of New Orleans — with the growing movement to end the tipped minimum wage.

Featuring Saru Jayaraman, Lily Tomlin, Jane Fonda, and Rep. Alexandria Ocasio-Cortez, the film reveals an American worker’s struggle hidden in plain sight — the effort to end the federal tipped minimum wage of $2.13 for restaurant servers and bartenders, and the #MeToo movement’s efforts to end sexual harassment.

W&H: What drew you to this story?

AG: When I heard that the tipped minimum wage in many states was $2.13 an hour I could not believe it. I thought that if I did not know this it was likely many people would not be aware of this.

That led me to want to make a film about those struggling to survive on $2.13 an hour and those struggling to raise awareness about the need for One Fair Wage in this country.

W&H: What do you want people to think about when they are leaving the theater?

AG: I want people to be aware of what the situation is in their state and city, since it differs all over the country. I want people to know the 43 states where the tipped minimum wage is still operative.

I hope people will become active in trying to end the tipped minimum wage, better understand the need for One Fair Wage, and begin to ask questions of their servers and bartenders about the situations they face.

Just learning the reality of the tipped minimum wage is likely to be eye-opening for audiences around the country, who most likely assume that everyone gets paid at least the minimum wage.

W&H: What was the biggest challenge in making the film?

AG: The biggest challenge for me was that the efforts to end the tipped minimum wage were passed by the voters and then overturned by legislative bodies.

In June 2018, there was a victory in Washington, D.C. when the electorate voted to end the tipped minimum wage, but that was reversed three weeks later by the D.C. City Council under pressure from the National Restaurant Association. It remains repealed today.

Because we are following both workers and a movement, finding the right time to end the film was the biggest challenge because the struggle continues.

W&H: How did you get your film funded? Share some insights into how you got the film made.

AG: The primary funder for this film was The Ford Foundation, but their support followed support from a family foundation and the Women Donor Network, which have been supporting efforts to end the tipped minimum wage for several years.

Ford was interested in the film because of its work around economic inequality and the money was provided by both the program people as well as JustFilms.

I received additional support for the film from other foundations and a number of individuals, and would not have been able to make the film without this broad base of support.

W&H: What inspired you to become a filmmaker? 

AG: I started my career as a lawyer and after 10 years decided I had to do something that was more interesting. That led me to make films in which I told the stories of individuals and movements that could inspire others to think beyond the confines of their own experiences.

I produced and directed a number of films about judicial trailblazers such as Thelton Henderson, one of the first African American federal judges, “Soul of Justice: Thelton Henderson’s American Journey”; the first Latino judge appointed to the California Supreme Court who was later recalled in an pro-death penalty effort, “Cruz Reynoso: Sowing the Seeds of Justice”; a South African anti-apartheid activist who was blown up in a car bombing, but survived to become one of the first 11 judges on the South African Constitutional Court, Peabody award winner, “Soft Vengeance: Albie Sachs and the New South Africa.”

These were all people I knew from my time as a lawyer and I knew their stories would be of interest to wide audiences even though their names are not known.

W&H: What’s the best and worst advice you’ve received? 

AG: Worst advice: You cannot become a filmmaker because you did not go to school to learn the craft.

Best advice: Get out there and tell the story you want to tell and make sure you work with people more experienced than you are and learn from them.

W&H: What advice do you have for other female directors?

AG: Try to find the stories that you are the best person to tell — either because of your personal experience or because of your commitment to the subject matter.

Many of the best films being produced today shine a light on areas of the world and struggles that the rest of us know little or nothing about, so finding the story that only you can tell is an important place to start.

W&H: Name your favorite woman-directed film and why. 

AG: My most recent favorite is “For Sama,” which is an immersive film about the experience of being a filmmaker and a mother and wife, living under siege in Aleppo, Syria, directed by Waad Al-Kateab and Edward Watts.

W&H: What differences have you noticed in the industry since the #MeToo and #TimesUp movements launched?

AG: I have noticed that female directors, especially African American women, have had more opportunities to direct dramatic series.

As a documentarian, I know that festivals and training opportunities are interested in referrals from Films Fatales, an organization of female directors. I have not experienced a direct change in my own opportunities as I generally work for myself and raise funds for my films from foundations and individuals.

“Waging Change” directly addresses the influence of the #TimesUp movement on the restaurant industry and I will be interested to see what conversations are generated by the film.

Overall, I believe that these movements have had a positive effect on opening up the film industry to women, as well as reducing the pervasiveness of sexual harassment and assault within the industry.