Maxine Trump directed the 2012 feature “Musicwood,” which was a New York Times Critics’ Pick. She’s directed short documentaries for TNT, Sundance Channel, BBC, and TLC. Her work also includes producing and editing for documentary clients.
“To Kid Or Not To Kid” will premiere at the 2018 DOC NYC film festival on November 11.
W&H: Describe the film for us in your own words.
MT: Though it may be the biggest decision of one’s life, some people don’t think they have the choice of whether or not to have kids. And some have the choice taken away from them because they are unable to have children. Yet no feature film has ever been made on the subject of whether or not to have children.
There is a myth that if you don’t have children, you’re weird, selfish, or somehow wrong. How can this still ring true in the 21st century? Maybe it’s not so surprising when access to birth control and abortion have once again become a contentious issue in America.
This is an intimate journey of two women supporting each other in finding their truth and deciding whether to have kids. One woman who is 25 battles with the side effects of the contraceptive pill and seeks sterilization while the other, 43, who is told it would be difficult for her to have children, seeks acceptance.
W&H: What drew you to this story?
MT: A very close relationship of mine broke down because of our differing opinions about having kids. It was really upsetting, and I wondered how many people had experienced the same situation. It also made me very aware of hard it can be to bring this subject up, even with the people closest to you. When I started researching, the floodgates opened, and many people shared their stories with me.
I only wish I could have included everyone’s story. I didn’t realize so many people wanted and needed this film until I started making it.
W&H: What do you want people to think about when they are leaving the theater?
MT: I want viewers to laugh, cry, and think about a subject that they may have never considered before. They might even feel challenged. Doesn’t all good art challenge or emotionally affect you in some way? That’s what I was aiming for.
I don’t call this film a “social issue film;” first and foremost it’s a film that people will enjoy watching. It’s surprising, sometimes shocking and sad, but it’s also full of humor. People need to talk about this subject, so let’s take some of the weight off of it. It’s no surprise that so many female comedians like Michelle Wolf, Ellen DeGeneres, Sarah Silverman, and Jen Kirkman dedicate parts of their standup to the subject of not having kids. The audience should also have the realization that not having kids is an absolutely fine decision, and that no one is lesser than because of it.
W&H: What was the biggest challenge in making the film?
MT: I had to be vulnerable myself for the other characters to open up to me. It was a different method of filmmaking and one that made me very uncomfortable. But in the end, this produced some truly powerful scenes. This was a new way of working for me. I had always resisted going in front of the camera, but then people kept asking me to, so now here we are.
The film is incredibly intimate, capturing moments that you could only get by me carrying around my camera almost all the time. You’ll get to see things you’ve never seen before. And I can’t tell you what they are. You’ll have to see the film.
W&H: How did you get your film funded? Share some insights into how you got the film made.
MT: I made this film through crowdfunding, which was a new method as opposed to other other films I’ve made. This was my passion project — I wasn’t employed by a client, as I had been for a lot of my work. I didn’t go through pitching processes for presales. It was such a current story with an intimate tone that the film required me to film most of it myself.
Because it is also about a highly zeitgeisty topic, there was no time to think to think too hard about the “how.” I just had to pick up my camera and go, with the belief that the sales and fundraising would come later.
W&H: What inspired you to become a filmmaker?
MT: Two things inspired me: the film “Dark Days,” and the fact that I love what I do. I went to art school, then film school, and pretty immediately out of college went to work for the BBC. I ended up in comedy, which was fun. Many of my closest friends still work in comedy. But I hadn’t found what I was looking for. Then I watched “Dark Days,” Marc Singer’s documentary about people living in the underground tunnels of New York City. and it floored me.
When I had the opportunity to start making short documentaries for TV networks I jumped at the chance, went freelance, and that was that. I found myself in documentaries and felt complete.
W&H: What’s the best and worst advice you’ve received?
MT: The best advice I received was to not work alone: have a team. And avoid arseholes. I can’t say this enough: it can be a lonely process. I’m a member of about three or four different collectives, and it really helps just being with people who are struggling, or learning new things and sharing them with others. Making art is hard, that’s just the truth. But we can’t not do it.
The worst thing is when people on set try to persuade you that you don’t need that last shot when your gut is telling you you do. Ignore these people. As long as you are not going into overtime, you are paying for their time, so it’s up to you to decide what you film!
W&H: What advice do you have for other female directors?
MT: Though your passion will drive you, it is important to find your people — filmmakers, friends and colleagues — and surround yourself with them. It may not always be other documentary directors. Fiction directors, cinematographers, people from other walks of life, people who understand. My best friend is a publicist who keeps me going. But make sure you give back too — don’t be a taker.
Also: be bold on set. You’re not too bossy: you’re a boss. Firm but fair is my motto. I’m quite different in the office than I am on set. But I’m also not an arsehole: no one needs to be an arsehole. Again, avoid those people.
W&H: Name your favorite woman-directed film and why.
MT: There are so many, but “Big Men,” directed by Rachel Boynton jumps to the top of the list. Boynton was so brave to produce such a powerful and important story about the follies of big oil.
She went into the boardrooms of big oil in America and Ghana with only a two-person crew. Simultaneously, they filmed in the swamps of the Niger Delta to follow the exploits of a military gang. In doing so, they revealed another side of the economy of oil: people trying to make a profit in any way possible.
I tell everyone to watch the film.
W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. What differences have you noticed since the #MeToo and #TimesUp movements launched?
MT: I’ve noticed more men talking about bad things that they have overheard or seen on set, and how they want to speak up about it. It’s these men who are realizing what is happening and wanting to do something. That is wonderful. I’m proud of these men. It may have taken them some time to realize what the casting couch really meant, but thank God they have.
I know some people might say “why be proud of these men?” But in all circumstances, it is hard to speak up, stand up, and be counted –especially in this business where one can be fired so easily.
