Anouk Whissell is a Montreal-based filmmaker and animator. Made with her filmmaker collaborators François Simard and Yoann-Karl Whissel, Anouk Whissell’s debut feature, “Turbo Kid,” premiered at Sundance in 2015. The film went on to win 24 awards worldwide, including the SXSW’s Audience Midnighters Award.
“Summer of ‘84” will premiere at the 2018 Sundance Film Festival on January 22. The film is co-directed with François Simard and Yoann-Karl Whissell.
W&H: Describe the film for us in your own words.
AW: The film is about friendship and the excitement of being 15 as you’re hitting summer vacations, but also a thriller that questions your very sense of security and the false feeling of safety provided by the close-knit communities of the suburbs.
Fifteen-year-old Davey, stuck in that awkward age gap between childhood and adulthood and obsessed with mysteries, starts to suspect his neighbor from across the street, a respected police officer, is a serial killer. Excited, he convinces his best friends to spy on him, unaware of the danger he may be getting into.
W&H: What drew you to this story?
AW: At first it was really the whole nostalgia feeling that I felt while reading the script and the friendship story at the center of it. It just reminded me of my own childhood growing up in the suburbs, the adventures and stories we would come up with.
I really felt compelled by the main character and his obsession with mysteries — I remember one of my favorite books as a child being an encyclopedia about ghost, aliens, and unexplained phenomenons. These were the sources that used to scare me in an exciting, adventurous way. As I grew older, I saw abductions and horror stories hit the local news, realizing the reality of it all.
W&H: What do you want people to think about when they are leaving the theater?
AW: I hope that they come out entertained and moved — that the feeling lingers with them for some time. I want them to feel something.
W&H: What was the biggest challenge in making the film?
AW: Time was our biggest challenge. We came to production with an ambitious script — a period piece with many locations, nights, and underage actors. We had to be clever and whatever happened we made sure to protect the essence and heart of the story.
W&H: How did you get your film funded? Share some insights into how you got the film made.
AW: “Summer of ’84” is a studio film. We got attached to the project back in 2015, and along with Matt Leslie, we were looking around for potential investors. We found the perfect match when we met with Jameson Parker and Shawn Williamson from Brightlight Pictures, and Cody Zwieg and Van Toffler from Gunpowder & Sky.
W&H: What does it mean for you to have your film play at Sundance?
AW: It’s hard to express how proud and grateful I am that “Summer of ’84” was selected. Back in 2015, we had the honor of having our first feature [screen at] Sundance and to have our second feature picked up again this year is rewarding on so many levels. Sundance has already done so much for our career. I hope that even more doors will open now that we get to repeat the adventure.
W&H: What’s the best and worst advice you’ve received?
AW: One of the best pieces of advice I received was from Jason Eisener. It applies to almost everything in life — and every step of production: “Better to act now than to regret it afterwards.” So, don’t be afraid to speak up.
I can’t seem to recall any specific bad advice, though I know I’ve received quite a few. This is the beauty of selective memory.
W&H: What advice do you have for other female directors?
AW: Be confident. Don’t be afraid to kick the doors open and show what you got. Don’t ever let anyone get you down and stay true to yourself.
W&H: Name your favorite woman-directed film and why.
AW: “The Virgin Suicides” by Sofia Coppola. I think I just turned 18 when I saw it, and I must have seen it a hundred times since then and I feel it never lost its relevance. In my opinion, everything about that movie is so strong, from the subject and the visual to the music.
W&H: Hollywood is in the midst of undergoing a major transformation. Many women and some men in the industry are speaking publicly about their experiences being assaulted and harassed. What do you think of the recently announced anti-sexual harassment Commission made up of industry leaders? Do you believe that it will help make systemic change? What do you think needs to be done to address this issue?
AW: The commission is definitely a good step in the right direction and will surely help make a difference in the field, but I feel that in order for the change to be systemic it’s the mentality of the society as a whole that will need to change and evolve.
It’s really inspiring to see the movement growing stronger every day, and while the situation is still far from being won and resolved, it truly feels as if it’s finally bound to happen.
