Every production faces unexpected obstructions that require creative solutions and conceptual rethinking. What was an unforeseen obstacle, crisis, or simply unpredictable event you had to respond to, and how did this event impact or cause you to rethink your film?

Any director can tell you that obstacles and crises to overcome are their daily basis on set. I wrote Other People’s Children with a desire to address a solidarity letter to child-free women, and as a child-free woman myself. While prepping the film, the unexpected was to discover that I, myself, was expecting, and the entire shoot was seen through another lens. Not only physically, with a different amount of involvement (we all are still shy to admit that female directors have specific obstacles that can affect their work in one way or another). But ontologically, in the relationship I had with the main character. It was no longer a therapeutic object I could identify to, but definitely became a universal object anyone could relate to.