Marie Clements (Métis/Dene) is an award-winning writer, director, and producer of film, television, radio, new media, and live performance. Her work as a filmmaker includes the 2015 docudrama “Number 14” and the 2013 short drama “Pilgrims,” which screened at TIFF. Her short documentary “The Language of Love” screened at Hot Docs in 2012. The film production of Clements’ screenplay “Unnatural and Accidental” premiered at the MoMA Film Festival in New York and also screened at TIFF.
“The Road Forward” premiered at the 2017 Hot Docs Canadian International Documentary Festival on April 30.
W&H: Describe the film for us in your own words.
MC: “The Road Forward” is a musical documentary that pays tribute to the political, social, and legal civil rights movement led by First Nations activists in Canada.
The Native Brotherhood and Sisterhood of BC formed a newspaper called The Native Voice in the 1930s, where news stringers from across Canada and the U.S. sent in stories that unified a Native reality across nations and borders. Our story is told through this history and through the voice of leading First Nations activists, musicians, and vocalists.
W&H: What drew you to this story?
MC: I was researching and came across The Native Voice newspaper and was drawn to the idea that leading First Nations activists formed a newspaper in the 193’s that spoke to and from a First Nations perspective — that this history was not only documented by First Nations leaders but that The Native Brotherhood and Sisterhood fought for human rights movements that we are still benefiting from today, and in some cases, still fighting for.
It became clear that First Nations activism in the Americas has a long history, and movements such as Idle No More and Standing Rock come from a long tradition of activists coming together in a unified vision towards change.
W&H: What do you want people to think about when they are leaving the theater?
MC: I want people to think that our history is their history — that everyone who lives in Canada and U.S. shares a history that is still alive, and that this history has a real influence and impact on what our present situation is and what our future will be.
I also want people to feel as inspired as I do witnessing these early activists who came together to create a world view that included everyone at the table: Native and Non-Native, men and women, families. I also want them to feel inspired by contemporary First Nations artists who are giving voice to activism in their own work and in their own right.
W&H: What was the biggest challenge in making the film?
MC: There were a lot of moving parts in creating and weaving a story that fuses music, documentary, and dramatic sequences told over seven decades and featuring over 27 subjects with a large ensemble. Time was a challenge but that is hardly original.
I would have to say that I loved the challenges that “The Road Forward” demanded. It felt epic and yet forced me to see and re-see, hear and re-hear every single detail in a cellular way. It was a beautiful challenge.
W&H: How did you get your film funded? Share some insights into how you got the film made.
MC: “The Road Forward” was produced by The National Film Board of Canada. I met with executive producer Shirley Vercruysse from the BC & Yukon Studio to pitch the idea of a hybrid documentary.
I was extremely fortunate that “The Road Forward” was developed and produced by the National Film Board. Miracles do happen.
W&H: What does it mean for you to have your film play at Hot Docs?
MC: It’s a great honor to have our world premiere at Hot Docs. It also feels humbling to be in such great company. There are just so many extraordinary filmmakers and films being screened here from all over the world. It is inspiring.
W&H: What’s the best and worst advice you’ve received?
MC: Best advice: During “The Road Forward” we often used George Manuel’s quote “Take It. You don’t ask for it, you take it.” It’s a great piece of advice because everything demands that you be present and believe the time is now. Our stories need to be seen and heard now.
Worst advice: It’s hard to choose what might be the worst advice I’ve ever received because it usually depends on the day. For the most part people will tell you over and over again your project will never get produced, or you will never direct it, or both.
There is also a whole lot of other advice you will get which will challenge you to decipher what is good advice and what is bad advice. Ultimately you will come to understand bad advice is how people reveal themselves and their intentions. So in that way it is very useful.
W&H: What advice do you have for other female directors?
MC: My sister used to say “I decide.” I think it’s important to remember it’s okay to take a chance, to risk everything because in the end you will be responsible for it either way — whether you benefit from it, or whether you pay for it. You decide and your decisions have to stay true to the vision of the story because that is the only reason you are there.
W&H: Name your favorite woman-directed film and why.
MC: This is more than one, the why of it being they are master storytellers who executed their vision: Jane Campion’s “The Piano,” Kathryn Bigelow’s “The Hurt Locker,” and Deepa Mehta’s “The Beeba Boys.”
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
MC: “The Road Forward” was produced by the National Film Board of Canada, which has always been committed to representing women directors and their stories, and has publicly stated that this is an important part of its mandate and a part of its practice.
Other main Canadian funders and broadcasters have come on board this year with initiatives and mandates that are looking to address equality in a real way. It might be too early to be optimistic but I am feeling that there is a real change galvanizing across different institutions and platforms.
