Oscar-winner Marlee Matlin worked Sundance premiere magic four years ago when the heartfelt indie CODA debuted at the festival (it went on to become the Acquired by Apple for $25 million, resulting in an Academy Award) for The Greatest Image). But this year, Matlin will be at the Sundance Film Festival in person to premiere a documentary about her life and career, “Marie Matlin: Alone No More,” which premieres at the Park Met's Eccles Theater , packed with seats. Thursday, Utah.
“You just give me chills,” Matlin said choose A few days before the competition, she was thinking about how she would feel as a room full of strangers watched her story on a big screen. “I have to say, it’s pretty cool to go to Eccles and start the tournament.”
We met via Zoom with the documentary's director, Shoshannah Stern, and their interpreters (Matlin's longtime interpreter, Jack Jason, and Stern's collaborator, Karri Aiken) to discuss what brought this expertise to her 2010 exposé ’s memoir I Will Scream. “.
In the book, Matlin reveals the details of her sudden and lasting hearing loss 18 months later; after becoming the first deaf actor to win an Academy Award for her breakthrough performance in Children of a Lesser God , she navigated the ups and downs of Hollywood; and her abusive relationship with her costar in the film, William Damage, among other challenges. While the headlines in the documentary may seem “outdated information” to some, the way they are presented is illuminating – thanks in large part to the way Stern frames them.
“One is a printed phrase, and one is signal language—it’s visible,” Matlin explains. “In print, you can’t get a tone, and it’s a completely different animal for me to express myself visually.”
Stern interjects: “I told Marlee that e-books are a bit like monologues—you're just sharing a technique. Documentaries provide dialogue—forwards and backwards.”
Alone No More captures the issue in a very unique way: the film centers on Stern's interview with Matlin. The two appear to be together on screen, sitting opposite each other on a couch, using American Sign Language to deliver their dialogue, with no voiceover — just brightly colored subtitles.
“I didn't know it was going to be this set up [until] I walked into the interview. I believed, 'Okay, high quality, we're going to sit on the couch together,'” Matlin said. “I didn't know what Shoshana was thinking until I saw the movie, and then I said, 'Oh! 'I just let it all cycle. I simply let it go. “
Stern said one thing she warned her about in advance was: “Put on your cute socks.”
Shoshannah, this is your directorial debut. You came up with this unique setup, which led to a special dialogue that was listening to a conversation that a particular director wouldn't have been able to execute. How did you decide on this framework?
Shoshanna Stern: Mary knew what she needed. Mary actually has extraordinary intuition. If you're the first one trying to navigate something and trying to carve a path through the woods, she actually needs to be in touch with her intuition. No matter how similar her instincts were to me directing this documentary, I knew I needed to connect with mine, too.
I discovered early on that every different type of documentary I thought of was sound-based. Typically, administrators sit behind a camera and discuss the topic and then make all these completely different clips. And then there's the voiceover, especially when interviewing deaf people. I started thinking, “What would a visual-based documentary look like?” I found this really cool because it fit in with the title of the movie, “Alone No More.” I shared territory with Marlee in the interview. We are having a conversation. We were having a conversation, not like a typical interview. Allowing Mary to say what she needed to say and then letting the conversation really guide and tell our story.
Mary Matlin in “Mary Matlin: No Longer Alone”
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Marlee, what was your instinct for Shoshannah to direct? How does it feel to be able to replace the same old interview (which I now realize is a really limiting phrase) “lead” interview with this conversation?
Mary Matlin: When PBS and American Masters first contacted me and asked them to write a biography of my life, I was open to the idea. I have been honored. I believe, “Sure, and it must be directed by a Deaf director.” Their attitude is, “We're open to that. Please give us additional notice.” To me, it's all about the deaf lens Relevant, if you want to use this method; it's very authentic. I mentioned, “I do know someone—Shoshannah Stern.” So they were like, “Okay. Has she directed before?” And I said, “No, but you have to start somewhere.”
I knew it would be a perfect match because we've known each other for several years and we've always had a great conversation. She is an excellent listener, and she or he has an important intuition. She has the ability to give a real, raw and honest account of something like this. No BS. Understand that each of us has been raised in relation to that in some way—me as a deaf girl, as a deaf actor, as a mother, as a woman married to a listening man. We bought into each other and even had a similar sense of humor.
How does it feel? Was there a moment within a few hours of the conversation when Shoshannah asked you to do something you had never been asked to do before?
Matlin: I am always an open e-book. I’ve always needed to share my story with people. Usually I hold on again because it's a matter of belief – and I have a belief point – but I usually just simply say what's on my mind. Shoshannah was actually very good at removing these issues from me. She allowed me to put the playing cards on the table, no matter what they had been.
Shoshannah, I observed the beautiful lavender color in Marlee's title and the variety of colors you used for the other interviewees. What are your thoughts?
Stern: To me, subtitles have always had tremendous weight. That's how I entered the world. That's how I get my information. After I go to bed, even now as an adult, if I see two people listening to people talk about my goals, I see subtitles. However, like most of the problems in our world, the headlines are designed by people who are outside the expertise of our lives. Why are subtitles always only one color? It's always difficult for me to tell who is speaking, especially if there are more than two or three people who can speak at the same time. I'm like, “Wait, who?” So they're always in the same location, and usually they display the necessary information on the TV screen.
In film, you always have the option to advance your narrative in a more artistic way. The higher the accessibility of art, the higher it is. However, the subtitles have become quite customary. They have changed a bit over time, but, basically, most of the time, they are the same. When I look at the subtitles in my flashbacks, I see these outdated subtitles.
“Children of a Lesser God” is actually quite compelling. The character of Marie never had her own subtitle, not her own subtitle in any way. Mary had no lines in that film; only James's voiceover of her had subtitles, but not Sarah's because she was using signal language. So she fell silent. For the first time we were able to add subtitles to Sarah in our film and it was a blast [wipes away a tear]. sorry.
Matlin: Look, this is a true storyteller.
Stern: This was exciting for me because I had never seen it before.
Matlin: It's about time someone did this. it is [Shoshsannah’s] Movie. She does things her way and that's our expertise as well. That's all. I'm proud to be working with her and starring in her first film.
Stern: But I need to do this! I can't let it go to waste. Because if I tried to imitate the way other documentaries are made, I wouldn't be able to do that. It might just be me, and I need to take things higher – for Marlee and me, and, after all, for all the deaf people watching the movie. Know that change is possible.
Matlin: This movie has so many different scenes going on at once, so much information, so many different messages, so many points that the deaf people we come into contact with will always grasp. My story is just one way to tell the story of what Deaf people experience – oppression and all, and it's so complete, and it's because of Shoshannah that we have the ability to tell that story.
Stern: I have mentioned many times that Mary's story is both extraordinary and strange. I need to collectively point out each one.
This movie really highlights what an unusual situation you survived, Mary. So most of the people who were interviewed — like Lauren Ridloff (Marvel's “The Eternals,” Tony Award nominee for Broadway's “Children of a Lesser God” ) have all met you and been impressed by you, how does it feel to hear them talk about you and what these struggles you have been fighting for so long mean to them?
Matlin: It's very humbling, but it's exactly what I needed. That's my intention. I want people to see that this is what I can do, this is what I am good at, this is what I recognize as a deaf person. But I also know I'm not alone. To have the opportunity to talk about what I do as an actor, as a mother, and all the different aspects of who I am, I'm excited to encourage them. This is just spreading religion. That's why I'm not alone anymore.
There's also a factor related to subtitles – Marlee, you advocated for the use of closed captions on television in the 1980s and again at Sundance in 2013 when you were on the jury – why did you choose Lilac As a subtitle for Marlee?
Stern: Because of her Oscar dress. [Matlin wore a lavender gown to the 1987 ceremony where she won best actress.]
Matlin: I have no idea!
Stern: In the first interview we conducted, she or he wore a lavender shirt, and in the dinner scene she wore the same color. I'm a woo-woo person and usually I'll see one thing and I can simply tell that's your shadow – your aura, your spirit animal, your totem? I got a strong feeling from the different people in the movie that their colors were mostly determined by their powers.
It's actually quite interesting, I'm working carefully with this amazing Deaf artist Alison O'Daniel [on that]. Two years ago, she had a film premiere at Sundance (“Size”), and I just loved the synchronicity. Marlee drove the subtitles, and later, in the movie about Marlee's life, the subtitles were pushed and elevated by another deaf girl. I was so excited when I saw the subtitles finished. [It was] Very emotional for me.
What else do you want people to know about this movie?
Matlin: I expected there to be some surprises, like at the end, I signed a Billy Joel track. I signed with Billy Joel at his home in Metropolis, New York, in the '80s, when he was married to Christie Brinkley. I believe I signed him three songs and he read them and [she] They were photographed with her home digital camera. So if anyone could contact Christie Brinkley, maybe contact her and see if she needs to save that video clip. It would be great if she could still have it! [Shoshannah] I was shocked at the initial screening and asked if I could maintain my credit long term. I said, “Yeah, that's okay.”
Is “My Life” a special song to you?
Matlin: It is. It was my dad’s favorite track.
