Sarah Polley: The Men You Meet Making Movies

He told me, in front of the publicist and a co-worker beside him, that a famous star, a few years my senior, had once sat across from him in the chair I was in now. Because of his “very close relationship” with this actress, she had gone on to play leading roles and win awards. If he and I had that kind of “close relationship,” I could have a similar career. “That’s how it works,” I remember him telling me. The implication wasn’t subtle. I replied that I wasn’t very ambitious or interested in acting, which was true. He then asked me about my political activism and went on to recast himself as a left-wing activist, which was among the funniest things I’d ever heard.

.. Women in technical jobs were almost nonexistent, and when they were there, they were constantly being tested to see if they really knew what they were doing.

.. the photo shoots in which you were treated like a model with no other function than to sell your sexuality, regardless of the nature of the film you were promoting.

.. How would one have left that meeting, or those hotel rooms, which have been described by others, with that relationship intact, when he displayed such entitlement and was famous for such anger? I was purely lucky that I didn’t care.

.. Shortly afterward, I started writing and directing short films. I had no idea, until then, how little respect I had been shown as an actor. Now there were no assistant directors trying to cajole me into sitting on their laps, no groups of men standing around to assess how I looked in a particular piece of clothing. I could decide what I felt was important to say, how to film a woman, without her sexuality being a central focus without context. In my mid-20s, I made my first feature film, “Away From Her.”