Spinster Interview: Andrea Dorfman
“The stories I want to tell are expansive, not reductive, they are about women who are in a constant state of becoming.”
SPINSTER is a coming of age story set not in the teen years normally shown on screen, but in a woman’s late thirties.
Childless and single, Gaby (Chelsea Peretti) contemplates a new career path, navigates new and old friends, and develops a new relationship with her timid niece.
Described as an anti-rom-com, SPINSTER delves into society’s view of women and their choices when it doesn’t align with the ‘norm.’ We watch as Gaby makes better choices for her own life and while men aren’t out of the picture, watch as she chooses herself over the need for a relationship.
We talked with Andrea Dorfman about working with actor Chelsea Peretti, crafting Gaby’s journey and filming in Halifax.
SPINSTER is now available on iTunes Canada and Vimeo On Demand.
Tell us a little bit about yourself, and how you got involved with filmmaking.
Andrea Dorfman: As a kid, I was fascinated by photography. My dad set up a darkroom in our house and I’d experiment from the time I was around nine. When I was 12 I started to explore my dad’s old Super8 camera and when I got the first roll of film I shot developed, the images were magic and I was hooked.
Tell us about Spinster, and where the idea came from.
AD: A lot of the film was lifted from things that happened to me and friends of mine and the screenwriter, Jennifer Deyell’s friends when we were single and in our 30s. There was a time when all of my close friends were in some phase of falling in love, getting married and having kids — and I was not. At some point it occurred to me, I might never have another relationship again and what if…? For me, this moment is the genesis of wanting to make the film.
The animated title credits are beautiful, can you speak about the inspiration behind that.
AD: I also make animated films and I always love including a little bit of animation in the live-action. I wanted to have Gaby free falling while the other people in her life were on trajectories with conviction because this is where Gaby’s character begins in the film.
What was it like working with Chelsea Peretti, was there any improv involved?
AD: Chelsea was great to work with. I’m still amazed that she flew across the continent from L.A. to Halifax to be in our little indie film—with a ten-month-old baby and without any other family members. Kudos to her!
We didn’t do a lot of improv on set because there just wasn’t time to play around, it was only a 17-day shoot, but I always left the camera rolling at the end of the takes because she’d, inevitably do something hilariously awesome.
Before the shoot, Jennifer and I sat down with Chelsea and there were lots of places in the film where she wanted input, usually to punch jokes up, which was great.
This film feels very East Coast, I loved seeing Halifax on-screen (The Seahorse Tavern!), why did you choose to set the film there and what was it like shooting in the city?
AD: I live in Halifax and have shot all my films here (Spinster is my 4th feature) and it’s always been important for me to shoot Halifax for Halifax. it’s a beautiful city, the arts scene is incredibly talented, the film crews are skilled and it’s a small, manageable city close to nature. the perfect place to shoot films!
A lot of movies with similar themes have two directions, one where the woman falls in love unexpectedly at the end, and another where she loves being alone and is happy with that. I loved how Spinster showed that love and companionship is still very much on the table for Gaby but it just didn’t work out. Can you speak about Gaby’s journey and why you crafted the story in this way?
AD: It was always important to Jennifer and I to tell the story of the anti-rom-com, to explore the ‘what if it doesn’t work out story’. Not everyone is going to find a partner—not everyone wants to—but that doesn’t mean they won’t have a meaningful and extraordinary life. This is the journey we wanted to explore through Gaby.
Can you tell us about some/all of the other amazing womxn/non-binary people who worked on this film?
AD: We had an incredible crew and women were in the key roles. Jennifer Deyell, the brilliant screenwriter of the film is one of my closest friends and numero uno collaborator. She is hilarious and has an incredible ear for dialogue. The script is ultimately why Chelsea signed on so, need I say more.
Stephanie Biron-Weber, the cinematographer, is a creative genius with an amazing eye for framing. She is a monster at handheld. Simone Smith, our editor, was a dream to work with. in the most understated way, she nudged the film to be more excellent than I ever imagined. Our costume designer, Sarah Haydon Roy, has a knack with detail and with people, she’s sensitive and knowing and completely tuned in.
Tell us about why you are a feminist and why it’s important to your filmmaking.
AD: Like every feminist, it’s obvious why I’m a feminist. I always want to know why someone is not?
Women telling our own stories busts open the stereotypes and myths of how we’re so often portrayed. The stories I want to tell are expansive, not reductive, they are about women who are in a constant state of becoming.
What are you working on now/next?
AD: Jennifer and I are developing two feature films and currently I’m finishing an animation for the NFB called How to Be at Home based on a poem written by the uber-talented poet/musician Tanya Davis, for our COVID times.
Finally, recommend one #MUFFApproved film for our blog readers.
AD: I am recommending two films, both from young Nova Scotian filmmakers: Werewolf written and directed by Cape Breton filmmaker, Ashley MacKenzie, is outstanding and, Murmur, written and directed by Halifax filmmaker Heather Young is a small but weighty gem. I can’t wait to see what both of these filmmakers make next.
*This post was originally featured on The MUFF Society.*
