Jenna Ricker is a producer and director. In 2007, she wrote, directed, and produced her first feature film, “Ben’s Plan,” a coming-of-age drama made on a micro-budget, which was awarded Best Drama at the AOF Festival and Distinguished Debut at the London Independent Film Festival. Her other credits include “Security” and “The American Side.” Ricker recently wrapped a five-part short docu-film web campaign for Dove’s Self-Esteem Initiative. 

“Qualified” will premiere at the 2019 SXSW Film Festival on March 10.

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

JR: In 1977, at 39 years old, Janet Guthrie overcame sexism, skepticism, and subpar equipment to become the first woman to qualify for the Indianapolis 500. Considered the “greatest spectacle in racing,” she stunned the male bastion of motorsports, finishing in the top ten. Yet, despite her success, her career inexplicably stalled.

“Qualified” is a testament to one woman’s determination and skill—the kind too often relegated to the margins of history.

W&H: What drew you to this story?

JR: Janet’s tenacity. She got on with pursuing her passion while everyone else was still gasping, “But she’s a woman!” The more I learned about her—giving up a career in aeronautical engineering, building her own engines, going broke, the 24/7 effort to secure sponsorship, getting the right equipment, and pulling a team together—the more I felt a kind of kinship. I’m not risking my life racing at 200 miles per hour, and I’m not clever enough to be an aeronautical engineer, but so many of her obstacles and triumphs echoed aspects I’ve experienced as a female filmmaker.

As the Nashville Tennesseean wrote, “Janet Guthrie drove the car they said she couldn’t drive, endured the strain they said she couldn’t endure, and completed the race they said she couldn’t complete.” She’s inspiring and I wanted so much to amplify her story for others.

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

JR: Inspired. Frustrated. Motivated. If they consider what might have been had Janet shared the opportunities of her male counterparts, then hopefully it adds to the evolving conversation of merit versus opportunity that many women and minorities face.

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

JR: I come from narrative filmmaking, and this is my first documentary. Between all the research, archives, and interviews we had, there were so many humorous, shocking, and emotional moments. The biggest challenge was deciding which parts of Janet’s story to leave on the cutting room floor. It was tough. Obviously, we’re just going to have to use it in the narrative!

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

JR: “Qualified” is my first studio-financed film. I have brilliant collaborators: Caroline Waterlow and Nina Krstic, who produced the award-winning documentary “OJ: Made in America,” and Greg Stuhr, who co-wrote and co-produced my last feature film, “The American Side.” Together, we pitched the film to ESPN and were thrilled they saw both the importance of Janet Guthrie’s experience and believed in the story we wanted to tell.

In terms of insight for financing, in my experience there’s no one way to do it. But, I have found success with creating materials like pitch decks and sizzle reels that aid investors in seeing your vision, as well as finding the right producing team. It’s not easy doing what we do; each film is like a starting a small business all over again, but building collaborative relationships make it that little bit easier.

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

JR: Movies. They’re magic. Movies have always been a very personal experience for me. As a kid I disappeared into films; more than entertainment, they were my tutor, a rich escape where I got lost in experiences similar and different from my own. They gave me a place to laugh until I cried, or cry my heart out. I started out acting, always saying that someday I’ll write and direct. I woke up on my thirtieth birthday and literally said out loud, “If not now, when?”

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

JR: The best advice: “Ask for what you want, and never say no to yourself first.”

The worst advice: “Write something that’s hot right now.”

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

JR: Your lens is unique, so nurture your point of view, and don’t apologize for having a point of view. Trust your instincts in front of and behind the camera. Find your collaborators and support each other. Be open to how things develop; they don’t always come as you expected. Celebrate the lows because they often lead to great highs. But mostly, trust your instincts!

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

JR: Yikes, I love too many women-directed films to pick just one. That’s like choosing a favorite food—there’s just too many flavors to enjoy. But, I will say that “The Piano” by Jane Campion was a game-changer for me. It was the first time I recognized a woman’s name credited as director. 

I haven’t had the chance to watch all the films directed by women this year, but have really enjoyed the ones I’ve seen. Lynne Ramsay’s “You Were Never Really Here” gutted me in all the best ways, as her films often do. I was rattled, scared, angry, touched; she delicately and deliberately weaved heart into a very complicated, relentlessly tough story.

W&H: It’s been a little over a year since the reckoning in Hollywood and the global film industry began. What differences have you noticed since the #MeToo and #TimesUp movements launched?

JR: Day to day, I’ve noticed more awareness, more trepidation to say or do inappropriate things. Simply being respectful seems obvious, but as it wasn’t for so long, I’m grateful to the #MeToo and #TimesUp movements for sustaining a spotlight on the inequities. There’s still lots of work to do, but knowing there’s support for speaking up and advocating is tremendous.

Admittedly, I’ve bristled a little at the term “movement” because in the past that often meant a brief moment in time when people made a stand about something, but then time marched on. This is here to stay; we’re not putting down the mic. I want my nieces and the young girls and boys coming down the pike to have a new narrative.