'How could I tell this story efficiently,' Polley writes of making 'Women Talking,' 'and not let it linger, while still giving us the space to return to, and sort through the meaning of a word like 'forgiveness.''
Writing the screenplay for “Women Talking” required a rigor and ruthlessness I was previously unacquainted with. I’ve never written so many drafts of anything, and always, at the end of the work I had set out for myself, I could see even more ahead of me. It wasn’t a question of expansion but one of constant concentration.
I was similarly attached to the sublime narration of August, the male character whose minutes of a meeting we are reading as the voice of the novel. While this works so beautifully in the book, we realized deep into the edit that for us to feel connected to the film, it was essential to hear this story through a female voice.
Up to this point in the process, some of my favorite lines had come directly from my collaborators’ personal experiences; the line “Sometimes forgiveness can be confused with permission” came from someone on the production who had experienced domestic violence and eventually realized that every time she had verbally forgiven her partner, it had actually functioned as permission for him to be violent with her again.
Making this film was a constant process of letting go. Letting go of the structure and many details of the novel I loved so deeply in order to spiritually hew closer to it; letting go of the idea that I was ever going to be finished with this conversation; letting go of earnestness in favor of humor and joy; letting go of things I dearly loved but that no longer belonged. It was liberating and it was painful.‘This was a very unusual theatrical commitment from all of us.
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