Amanda Seyfried, Mona Fastvold talk changing “male-dominated” film business with Venice Competition title ‘The Testament Of Ann Lee’

Mona Fastvold and Amanda Seyfried discussed their efforts to change a “male-dominated” industry and promote “female leadership” through Venice Competition title The Testament Of Ann Lee.

“It’s interesting talking about female leadership right now,” said Fastvold, opening the press conference for the film ahead of its world premiere this afternoon in Venice.

“Trying to create a piece of art in a business that’s very male-dominated, I’m always trying to create a community on set that is a bit different, and to create a culture that is nurturing, that is kind, that has a lot of empathy for everyone on my sets.”

Co-written by Fastvold and her partner Brady Corbet, Ann Lee tells the story of the eponymous founder and leader of the Shakers religious sect in the 18^th century – a occasional female leader of the time.

Fastvold said she was inspired by the way Lee led her group ”with empathy and kindness” in forming her own film team. “I was raised without any relationship to religion, but the way she wanted to create a space where everyone was equal – men, women, people of colour, with empathy for children – is important to talk about now,” said Fastvold.

Seyfried said the filming experience was “incredibly rare and might never happen again.”

“It was such a joyous experience, especially the way it was led by Mona,” said the actress. “We felt like in the Shaker movement we had a job to do, it felt very community-driven, equal. The reason I was able to face these challenges as an artist was because I felt completely protected and held up – loving artists, in a place where everybody knew the value of making this.”

“This felt like an opportunity where there were no tethers to anything,” added Seyfried. “I follow Mona into the light and there’s so much freedom. I’ve never been let loose in this way.”

Grandiose

Fastvold was asked why the film is on a similarly vast scale to The Brutalist, her previous collaboration with Corbet, when it would’ve been easier to make a smaller-scale work. “I thought she deserved that,” said Fastvold. “Don’t you think Ann Lee deserved something that was grandiose and wonderful? How many stories have we seen about male icons on a grand scale? Can we not get to see one story about a woman like this? I wanted her to have the space.”

The director paused when asked if there is a contemporary equivalent to Lee. “I don’t know, it’s complicated,” said Fastvold.

“Mona’s the closest to Ann Lee [today],” interjected Corbet. ”That’s Mother Mona to you [referring to Mother Ann, the name Lee often goes by in the film].” 

Corbet, who was nominated for the best director Oscar this year for The Brutalist, discussed how he and Fastvold divide their work, and assist each other.

“We firmly believe that you can only serve one master at a time,” said the director. “Mona had final cut on this film, which is very important to us.”

“When I have a project I’m working on I bring it to her and say this is what I’m doing next. We go back and forth that way. I directed second unit on the film; I’m working for my director. It’s not because I think a director is always right; it’s because a director is always consistent.”

“I’m not interested in watching films that are an exquisite corpse,” continued Corbet. “I want real continuity and consistency in a work of art. When I read a novel, I don’t want to read a novel written by 100 executives; I want to read a novel by one novelist.”

He also credited producer Andrew Morrison for making the film for $10m, shooting in multiple locations with a vast cast. “It was quite a feat, the elevator pitch for a Shaker musical was not the easiest thing to get off the ground,” said Corbet.

“The goal is for Mona to have complete creative freedom,” said Morrison. “How do you make a movie that spans someone’s whole life? It was challenging, we had to find partners who believe and supported in it [and] work all over the world.”

Seyfried, Thomasin McKenzie, Lewis Pullman, Stacy Martin, Tim Blake Nelson, Christopher Abbott and Matthew Beard lead the cast.

Ann Lee will go on to Toronto after its Venice launch this evening; and will play in competition at BFI London Film Festival in October.

Charades handles international sales, with CAA Media Finance representing the US.