Or Die Trying executive producers Sarah Hawkins and Myah Hollis caught up with 2nd AD/ Key PA Rachel Wilson to talk about her experience working on ODT Season 1.
ODT: What drew you to OR DIE TRYING?
Rachel Wilson: The first thing that attracted me to Or Die Trying was the incredible trailer. I really love the pacing, the music, and the level of camaraderie that you can see between the four female leads in only a couple of minutes. I, for one, am kind of tired of watching minutes-long talking heads videos asking for money on crowdfunding platforms - I think it was really smart of the ODT powers-that-be to start with a kick-ass trailer. And of course, as a female filmmaker, the prospect of being on set surrounded by women collaborating and solving problems together is always a draw for me.
ODT: Without giving too much away, what themes in this series resonated with you on a personal level?
RW: Some of the things that the character Raegan goes through in her professional life in the show really stand out to me. As a young woman in a creative industry, it can be really hard to ask for what you know you deserve but also keep yourself open to suggestions from "authority." The struggle for confidence and security in one's femininity, in one's circle of friends, in the entertainment industry, in LA, etc. is something that I can identify with, and I think it's pretty universal.
ODT: What was it like working with a crew made up of primarily women?
RW: I think we have a lot to learn from each other. There comes a point as a woman - especially in a competitive industry like ours - where you kind of have to unlearn everything you've been taught about how female relationships are always toxic and competitive and selfish. It's not only an opportunity to make great work and great art, but also an exercise in encouraging other women that want the same things as you. We can never stop trying to be better at that.
ODT: How do you think that benefited this particular project?
RW: Oh there was no other way to make this particular project than with a room full of talented, creative women. The selflessness of the producers and the willingness of everyone on set to jump in and help with something that might not have been in their department was really great to watch. I think all of the women on set kind of felt like this was their own story in a way and that made it feel really intimate.
ODT: Favorite moment on set?
RW: I loved watching Chelsea need a makeup reset between every take of the continuous shot in the party scene. *wink*
ODT: What do you think is the most effective way to go about changing the systematic gender problems in the film industry?
RW: Like I said earlier, I think it starts with us women. The more we build each other up and the stronger we get as a female-kind, the better position we are in to fight the mechanisms that are in place to keep us down. Roxane Gay has this great list of "13 rules for female friendships" - I would urge everyone to read that list and see how the "rules" apply to her own work, relationships, situations, et al.
ODT: Any other projects you're currently working on? Where can we see more of your work?
RW: Yes! I am in post-production on my directorial pilot debut. We shot for five days in July - it was my first project in LA and a huge undertaking with six months of pre-production that spanned me living in three different cities. It's a female-driven comedy as well, and I can't WAIT to show it. We expect a picture lock in December and hopefully we'll know a little bit more about its fate soon. I also just made my first dramatic short with my producing partner at It's Gonna Be Fine Productions - check out our website and social media for our older work and to get updates on both Natherine: Future Experience (pilot) and Fools (drama).
