Linda Goldstein Knowlton is an Emmy-nominated filmmaker working in documentary and scripted feature films as well as television. She executive produced “Dream, Girl” and “Whale Rider.” She also directed and produced “Women and Hollywood,” one of the six Emmy-nominated documentaries for the “PBS MAKERS: Women Who Make America” series. Her other credits include “Somewhere Between” and “The World According to Sesame Street.”
“We Are The Radical Monarchs” will premiere at the 2019 SXSW Film Festival on March 10.
W&H: Describe the film for us in your own words.
LGK: The film is about the two co-founders of the Radical Monarchs, an alternative scouting troop for girls of color in Oakland who earn badges for units on social justice. The film follows their tireless efforts to build a space that truly centers the lives of girls of color in the world around them, all the while facing questions like: Why are so many Americans threatened by young women of color learning how to advocate for themselves and others? Why is creating safe spaces for marginalized communities so deeply polarizing?
We filmed for three-and-a-half years, from the group’s early days through the troop’s graduation. We had the opportunity to document a movement rising and shine a light on the dedication and sacrifice of these two, powerful next-gen leaders. Or maybe I should say this-gen!
W&H: What drew you to this story?
LGK: When I first read the article about the Radical Monarchs and their co-founders in The Guardian and read their mission and vision statements, I felt incredibly inspired. I mean, how could I not be?
Their mission statement says “The Radical Monarchs create opportunities for young girls of color to form fierce sisterhood, celebrate their identities and contribute radically to their communities.”
Their vision statement says “The Radical Monarchs empower young girls of color so that they stay rooted in their collective power, brilliance, and leadership in order to make the world a more radical place.”
So I’d have to say, the co-founders themselves motivated me to tell their story.
W&H: What do you want people to think about when they are leaving the theater?
LGK: I want the audience to take away that they can change the world, and that it starts by each person doing what they can each day to change their own world. Step by step, looking first at themselves and then their communities, and doing what the Radical Monarchs continue to do: speaking up, speaking out, and being allies to all.
As co-founder Marilyn Hollinquest says in the film, “If we don’t want the Black Lives Matter movement to exist in 2036, then we need to teach social justice like we teach STEM subjects.”
W&H: What was the biggest challenge in making the film?
LGK: I was diagnosed with breast cancer one month after we started shooting, in May 2015, so yes, there was that. I was very fortunate, and I am very fortunate, to have an incredible personal village of friends and family who helped me through treatment and surgeries in my personal life.
Additionally, I have a wonderful, professional village who made continuing to make the film possible, starting with my producing partner and longtime collaborator Katie Flint, who had coincidentally just moved to the Bay Area. She did an enormous amount of creative and logistical heavy lifting when I wasn’t able to travel, and her dedication and talents were the film’s engine through the toughest times.
I also need to give a shout-out to badass associate producer Suz Curtis who was there with me and Katie from the beginning in every way! And executive producer Grace Lee! I don’t know where this film would be without her! She brought, and continues to bring, her extensive experience as an excellent filmmaker to this film.
The thing I love so much about filmmaking is the collaborative nature of the art form, and through all of it, our team always raised the bar. We got through the unusual path this film took, and we have a film that we’re all so proud of and being able to bring it to SXSW is really just remarkable.
Also, I’m thrilled to say I’m cancer-free!
W&H: How did you get your film funded? Share some insights into how you got the film made.
LGK: We raised funding for the film through a few grants and contributions from some high-net people thanks to the fiscal sponsorship program at the International Documentary Association, and Katie and I put in some of our own money.
This one was especially tricky because I didn’t really have the energy and brain space—chemo brain is real—to both make the film and apply for the big grants.
W&H: What inspired you to become a filmmaker?
LGK: I’ve always been interested in stories and storytelling. I was that kid with the flashlight under the blanket reading at all hours of the night. Knowing that I wasn’t a writer lead me to find other ways of storytelling, and I felt an instant connection with the collaborative nature of filmmaking.
W&H: What’s the best and worst advice you’ve received?
LGK: I gave myself the best advice as I was turning 50: no more working with assholes and seek out the good people. No one has specifically given me bad advice, although I’ve had years of opportunities to see bad behavior in action.
W&H: What advice do you have for other female directors?
LGK: Be prepared. Be yourself. And, oh yeah, be prepared.
W&H: Name your favorite woman-directed film and why.
LGK: I may be biased, but I am also discerning: “Whale Rider,” directed by Niki Caro.
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?
LGK: I have seen people actually seeking out women of color for their writers’ rooms and attempting to be inclusive on a bigger scale. We’ve got a long way to go to tip the balance of that scale, however I am feeling hopeful this moment will be a real movement to make real change.
