Jo Ardinger is an award-winning editor working on documentary and narrative film projects. Her editing credits include the documentary short “Beyond The Visible: The Story of the Very Large Array,” “Into Deepest Space: The Birth of the ALMA Observatory,” and the dramatic short “Every Beautiful Thing.” “Personhood” marks her feature directorial debut.
“Personhood” will premiere at the 2019 DOC NYC film festival on November 8.
W&H: Describe the film for us in your own words.
JA: “Personhood” is a documentary about the growing system of laws in America that criminalize and target pregnant women. Told through the eyes of a rural Wisconsin mom, the film reveals the dangerous consequences of laws that grant separate rights to fertilized eggs, embryos, and fetuses.
After a doctor’s visit places her pregnancy under the oppressive scrutiny of the state, Tammy Loertscher’s fetus is given an attorney while the courts deny Tammy her constitutional rights.
In this timely documentary, we see her sent to jail, and then forced to challenge a Wisconsin law that eroded her privacy, her right to due process, and her body sovereignty. The film reframes the abortion debate to encompass these underreported laws, which now exist in 38 states.
W&H: What drew you to this story?
JA: I got hooked on this story after watching a Rachel Maddow segment about a proposed “fetal personhood” amendment in Mississippi. The idea that a state could amend its constitution to give fetuses separate legal rights was pretty terrifying because the ramifications were so far-reaching.
This amendment would result in a total ban on abortion, and could also impact in vitro fertilization, and certain forms of birth control like the pill or IUD. Then I started reading stories about women in other states who’d been arrested for “suspicious” miscarriages, or coerced into having C-sections and other medical procedures against their will.
I had no idea that a system of laws had been growing since the passage of Roe v. Wade that gave states the right to hold women accountable for the outcomes of their pregnancies. This was all happening in the shadow of the abortion debate.
I connected with National Advocates for Pregnant Women, an organization working to secure people’s civil and human rights, with a special focus on pregnant women. They also represent women like Loertscher who get arrested or otherwise swept up in fetal personhood laws around the country.
They introduced me to Loertscher and I was immediately drawn into her story. Not only because her experience in Wisconsin was so shocking, but also because of who Loertscher is as a person. I was very inspired by her courage and her trust in me to make a film that might change people’s minds.
Loertscher represents so many women whose stories never get told, and bringing these stories to light is the reason I became a filmmaker.
W&H: What do you want people to think about when they are leaving the theater?
JA: I hope people leave the theater understanding that this issue isn’t just about abortion. I hope they are outraged when they learn what happened to Tammy, but I also want them to feel inspired and engaged enough to vote in local and state elections.
These laws are made and enforced by state representatives, judges, and district attorneys. It really matters who holds these offices, so voting is our most powerful tool.
W&H: What was the biggest challenge in making the film?
JA: It feels like everything about making an independent film is challenging, especially when it’s your first feature. I had a very steep learning curve, so it was a bit like jumping into the deep end to learn how to swim.
I had never applied for a grant or written a film treatment before, so I struggled with communicating a story that I hadn’t figured out yet. When I look back at my first written materials, it’s easy to understand why we weren’t getting the grants.
I already had a lot of experience in the field, so I was much more in my element when we were on the road capturing footage.
The biggest challenge outside of funding the film was how close I was to the material with my dual roles as director and editor. We were telling an ambitious story that took us to seven states over the course of several years, so there was a lot of story to sort through.
When I finished the first rough cut, I really needed to take a step back to get some perspective. I didn’t touch the transcripts or the edit for over six months and was finally able to come back with fresh eyes and a restructured narrative.
We were so fortunate to be able to work with Johanna Demetrakis and David Zieff, our two incredible story/editorial consultants, who really helped me find my confidence in the final stretch.
W&H: How did you get your film funded? Share some insights into how you got the film made.
JA: This film got made and finished primarily through the generosity of a devoted band of supporters who believed in our team’s ability to deliver the film.
We also have a great producer in Rosalie Miller who was the driving force behind our fundraising machine through production and post.
We had several work in progress house parties along the way and raised our finishing funds through a very successful crowdfunding campaign launched on the Women You Should Fund platform.
We also received support from several organizations. We had the opportunity to pitch the film at the AmDocs Film Fund Pitch. Our experience there was a great reminder of how much interest there was in our subject matter.
The film was chosen as one of the pitch fund winners, which included a cash award. We definitely got better at applying for grants over the years, and the film has been supported by Women in Film Seattle, 4Culture, and the Seattle City Artist Project.
W&H: What inspired you to become a filmmaker?
JA: As a single parent I didn’t realize that a career in filmmaking was even a possibility until I hit 40. The decision to start over as a filmmaker really rose out of my activism around healthcare reform.
I’d heard so many stories about medical bankruptcy and lives ruined from lack of insurance, and I wanted to be part of lifting these stories up.
I learned how to edit with Final Cut and became a 42-year-old media intern. I’ve had incredible mentors along the way who taught me everything from location, sound, to shooting. I also had lots of good luck!
My first big opportunity came when our cinematographer, Marc Pingry, hired me to go on a shoot in Hong Kong. I had great adventures working on several of Marc’s films, but I really wanted to put my own work into the world. That’s how this film got started.
W&H: What’s the best and worst advice you’ve received?
JA: The best advice is from my dad who always told me, “When times are tough, you must lean into the wind.” Our whole team has been leaning into the wind from day one to get this film out into the world!
The worst advice I received when I was growing up in the ’70s was to be quiet. I’ve been ignoring this one for a very long, long time.
W&H: What advice do you have for other female directors?
JA: Trust your gut. Ultimately you know the best way to tell your story even if you don’t realize it yet.
When the self-doubt that comes with creative work inevitably creeps up, or if you’re struggling to find your voice, find a mentor who can guide you through it.
Whenever possible, try to pay it forward and be a mentor to other female filmmakers. Make the time to give notes on their cuts or grant proposals. And finally, don’t forget to advocate for yourself and your fellow female filmmakers.
W&H: Name your favorite woman-directed film and why.
JA: For documentary, I loved Sarah Polley’s “Stories We Tell.” The film is original, authentic, and the themes really resonated with me. You’re taken on a deeply personal journey without the story ever feeling self-indulgent.
Also, “Citizenfour” by Laura Poitras. This film is so well crafted that we’re willing to sit in a hotel room with Ed Snowden for most of the film!
W&H: What differences have you noticed in the industry since the #MeToo and #TimesUp movements launched?
JA: Old habits die hard, but it does feel like there is more energy focused on women-led storytelling. People are slowly waking up to the fact that the female perspective not only leads to great content, but that it’s also commercially viable.
Of course, half the population already knew that multidimensional female characters are interesting to watch.
Stereotypical misconceptions, like the notion that women aren’t funny, are also being crushed by brilliant writers like Phoebe Waller-Bridge with her shows “Fleabag” and “Killing Eve.” The fact that she was hired as a writer on the latest “James Bond” script, a franchise built on misogyny, is a sign that we’re moving in the right direction.
