Elizabeth St. Philip is a senior producer at CTV where she has traveled the globe covering a host of stories for both national news and the investigative show “W5.” She has a deep commitment to telling stories that showcase the struggles of men and women of color. Her work has been recognized with 20 nominations and awards from organizations like the Canadian Association of Journalists, the Academy of Canadian Cinema & Television, and the Radio Television Digital News Association. In 2016, she was inducted as a role model at the Black Canadian Women Awards, to honor her more than 20 career as a media leader and journalist for CTV, CBC, and Discovery Channel Canada

“9/11 Kids” was scheduled to screen at the 2020 Hot Docs Canadian International Film Festival. A digital version of the fest has been organized due to the COVID-19 pandemic. “9/11 Kids” will screen in Hot Docs Festival Online, which launches May 28 and is geo-blocked to Ontario, Canada. More information about the program and how to tune in can be found here.

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

EP: “9/11 Kids” starts with a moment in history that many of us remember. President George W. Bush is seated in front of a classroom of second graders. The media is present and cameras are rolling when his chief of staff whispers in his ear: “A second plane has hit the second tower. America is under attack.”

“9/11 Kids” re-visits those students almost 20 years later to find out where they are now, what they remember from that day, and what their lives tell us about America post-9/11.

W&H: What drew you to this story?

EP: The producer, Steve Gamester from Saloon Media, came up with the idea to connect with the second-grade kids. Steve always wondered what happened to those students and how their lives unfolded after the tragedy. When he approached me to direct the film, I was intrigued because this story has not been told before. We have analyzed and dissected every aspect of that day, but the kids have been forgotten. They were a footnote in history. I loved the idea of giving them a voice for the first time.

Also the fact they were African American and Latinx really resonated with me. I’m drawn to stories about people of color who are on the margins but have big dreams and determination to succeed.

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

EP: I want people to understand the importance of a great teacher in a child’s life and the power of a positive outlook. Kay Daniels, the elementary school teacher in the film, was also a surrogate mom to the children — to this day she calls them “my babies.” She comforted them on 9/11 and taught them an important lesson: life will be tough and you will have days when you’ll want to give up, but you must hold on because better days are ahead.

The students internalized that message. Even though they face poverty, domestic abuse, racial profiling, and incarceration, they are all incredibly resilient and optimistic about themselves and their future. Mrs. Daniels deserves a lot of credit for that.

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

EP: By far the biggest challenge was finding the kids and gaining their trust. Our associate producer Hanna Jovin deserves credit for tracking down all 16 children in the class. She’s the same age as the students and she was able to connect with them on social media. Not everyone wanted to participate in the documentary, so we focused on six students who were interested. Even after we made contact, it took many months to get them to appear on camera.

Tyler Radkey is one example of that. He was a popular kid, a gifted student, and an athlete. He had spent some time in prison and was in the process of turning his life around. We really wanted to hear what he had to say about life in America, but he was very elusive. I remember slipping notes under his door and late night visits to his step mother’s house to plead our case. After many texts and phone calls, he finally agreed to give us a 15-minute interview. It was a breakthrough. From that point on, he was open and eager to participate. Ultimately his story was the most heartbreaking and will stay with me forever.

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

EP: We pitched the film to most of the major broadcasters of factual content in North America. The one that stepped up was Canada’s documentary Channel, which is affiliated with the Canadian Broadcasting Corporation. They co-financed development with the Canadian Media Fund. We then presented that development package and applied for production funding to the documentary Channel and the CMF’s POV fund, which supports filmmaker-driven feature docs.

Additional financing came from the Ontario and Federal Tax Credits programs.

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

EP: I was getting a BA in Journalism and Communications at Concordia University in Montreal. My goal was to become a print reporter but I took an elective course and made a short film about a psychiatrist with OCD. I loved everything about the experience: coming up with the concept, finding the actors, location scouting, lugging equipment in snow and freezing rain, the editing process, and screening it for a live audience.

I knew that I wanted to use visuals to tell stories that make people laugh and cry, and shine a light on social issues.

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

EP: One of my University professors told me I was too shy and sensitive, but those so-called weaknesses are actually my strengths. I believe it makes me empathetic and a good listener — it certainly helps when I’m interviewing people about sensitive topics.

The best advice I received was from my mom. She told me to do my best and leave the rest to God. It is a simple message, but really effective. If you do your best and everything goes off the rails at least you know you tried! There’s no shame in that, but chances are, if you are doing your best, things will work out. Eventually people will take notice and it will lead to great opportunities.

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

EP: Believe that you belong at the table. When I had my first real job in television, I felt so lucky but I also felt like I didn’t belong. I was a Black woman and everyone else in the department was white. Some people assumed the only reason I got my job was because of affirmative action — not because of talent or ability.

The way I dealt with that was to work hard, keep my head down, and say very little. I made myself as small as possible. Things are different today. I still work really hard, but I speak up more and ask for what I want.

My advice to others is to feel entitled, believe that you belong, and work harder than everyone around you.

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

EP: I really loved “Stories We Tell” by Sarah Polley. It is a fabulous documentary about a family secret that unfolds like a detective story. It is intimate, funny, complex, and a mix of documentary and fictional storytelling with actors playing the director’s family. It is incredibly well done.

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?

EP: I’m really busy right now. I am a television producer for a national news show in Canada. I have been covering COVID-19 every day since January. The stories have been scary, sad, and inspiring. It has certainly put life in perspective. I’ve recognized what is most important to me: good health for myself, my family and friends, and the ability to give people I love many hugs.

In my spare time I’m writing a dark comedy about a filmmaker stuck in quarantine. It is semi-autobiographical. Shooting it may be a challenge!