Writer-director Eliza Hittman breaks down the scene that gives her intimate, moving drama its name.
But then after the end, it would sort of haunt [them]."
You filmed this inside an actual Planned Parenthood, which lends another level of authenticity.
Credit: Focus Features
Why was that important for you to do here?
So that kind of authenticity is important.
It’s important to me as an artist, and it was important for the story.
Angal Field/Focus Features
And you met Kelly, the social worker speaking with Autumn, while you were doing your research?
She was very captivating when I met her and very candid.
I did no rehearsal with Sidney.
How did that ultimately come together?
It seems simple, but there are so many decisions that go into all of it.
We were very sensitive about the light it had to feel true without being too sad or too harsh.
And there were actually two cameras on her.
One was locked down in front of her, and the other was almost profile, like 45 degrees.
There had to be a perfect level of stillness in that room to achieve what we achieved.
It’s just a moment of pure honesty.
Did I read correctly that the version in the film was the first take?
Yeah, it’s the first take.
Afterward, I remember Sidney just took a drink of water and smiled a little bit.
She was like, that was cathartic, but there’s no way I could do that again.
We did do it again, and the other ones are also moving, but they’re more stoic.
She didn’t have the same access twice.
She was sort of spent.
It’s exciting, and I’m honored.
And not everybody wants to look that closely at this experience.
It’s a rough film.
But, knowing all of that, it makes me feel even more appreciative of the support.
This interview has been edited and condensed.
