and suggested they could flip the gender of the lead role which in screenwriter Matt Harris’ original screenplay was a man, she jumped at the opportunity.
DEADLINE: So Ted why did you decide this film could be made by switching the gender from a man to a woman? Did it give it another layer it didn’t have before?Well, first mentally and emotionally. I’ve said this before, I was raised by a single mom. I’ve been married 25 years. I have two daughters and so I’m surrounded by strong women. It seems like even producing was a general topping. I’m always surrounded by great, beautiful strong women.
DEADLINE: Kevin Kline is known for turning down a lot of roles. What was it like working with him as this sort of hybrid vet/psychologist/friend?It’s such a great character. I know Kevin would roll his eyes but getting to work with him, there’s just certain people that there’s no point since I started doing this to now where I’m like I’ll probably work with Kevin Kline. You don’t even dare to think it and then to get to do that with such a lovely piece.
DEADLINE: Getting a movie focused on human beings is not easy these days? Studios don’t do them much anymore. How did you get this one made?I guess I’ve just been lucky. I mean I guess really it just boils down to luck. It started with, which was a movie that no one wanted to make and then Harvey Weinstein made, strangely enough. Then everyone said don’t make that movie. Why would you make that movie? No one’s going to care about math and any of it. I don’t know.
DEADLINE: Neither of you can be there this year, but can you talk about what premiering at Toronto again means to you?I guess Toronto is the only festival I’ve ever known. I was blessed and lucky enough for them to accept Hidden Figuresup there. I think the audiences in Toronto are just among the best audiences in the world. They’re just film fans and film lovers. I mean you remember that night with. We were all crying because after the movie everyone, they were just crying.
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