How did you become involved with SADIE and what attracted you to this film? SADIE was made as part of NIFCO’s Picture Start Program. NIFCO (Newfoundland Independent Film) is our local co-operative. For the program, a team of filmmakers pitch a short film as part of a competition, and 3 teams are selected annually. I was interested in the program, but had no script at the time, but knew I wanted to work with women. I approached local producer Deanne Foley about her interest in working on a project together. At our first meeting, we decided to ask Emily Bridger to write the script – she is a young woman in her 20s who has immense writing talent. Emily agreed and our team was created. We wanted to try our hand at a suspense-
thriller film centred on a range of female character types and ages. In the end, she created a story about a nurse who becomes intrigued by a teenage patient who is struggling to deal with the tragic death of her parents. We set the film in the 1940s Newfoundland, in an isolated sea-side village where the nurse and patient are next door neighbours. So that’s how SADIE happened, three people who sort of knew each other coming together with a common goal of making a film by and about women. Your life in the province of Newfoundland and Labrador has deeply influenced your visual imagery as well as your quiet and observational style. How has your history influenced the way you produce art?