Tania Anderson, a British, American and Swiss filmmaker, is based in Helsinki (Finland). She has worked as a writer and journalist, most recently as a writer for National Geographic, where she discovered her passion for telling ordinary people’s extraordinary stories. “The Mission” marks her first feature-length documentary film.
“The Mission” is screening at the 2022 Sundance Film Festival, which is running online from January 20-30. More information can be found on the fest’s website.
W&H: Describe the film for us in your own words.
TA: “The Mission” is a coming-of-age story about four regular teens who are compelled by their faith and communities to take two years out of their life to “serve others.” These unlikely heroes embark upon a journey that is hyped up to be “the best time of their life.” They meet the challenges and harshness of another country and reality head-on, with open hearts. They return home convinced of their truths and have been transformed. They change for the better.
W&H: What drew you to this story?
TA: The backstory to “why I was drawn to this story” came out of essentially a clash between my natural sense of curiosity and my anti-religious upbringing. On the one hand, I’m drawn to groups of people that inspire stereotypes – I enjoy digging around to see what’s true and what’s myth. On the other hand, I was taught early on to distrust anyone who holds a religious or theistic message.
I was one of those people that crossed the street when I saw missionaries coming towards me, with an “I know what they have to say, and I don’t want to hear it” kind of self-reasoning. And at some point, I became aware of my own hypocrisy – among other things – that I could be fearless with and enjoy most people, except those that make me feel uncomfortable. I was able to meet a couple missionaries one day and decided to choose them. NotTo run. I had heard them talking and thought they were just two teenage boys wearing suits. That moment was a turning point for me. My natural curiosity could return.
W&H: What do you want people to think about after they watch the film?
TA: People are welcome to think whatever they’d like to think after watching “The Mission.” My goal was to make people feel – feel, for a few moments, what it’s like to be in the shoes of an LDS missionary.
W&H: What was the biggest challenge in making the film?
TA: The biggest challenge for me was to accept that I couldn’t capture everything. Ha! You only need to film what you want. You have to find the story within the material. That’s what makes documentary filmmaking challenging for me. I guess it’s also what makes it easy – you’ve got what you’ve got, and you need to roll with it!
W&H: How did you get your film funded? Please share your insights on how you got the film made.
TA. The main Finnish production company for the film, Danish Bear Productions was a good choice in securing the financing. The bulk of the money came from Finnish public funding mainly – from the Finnish Film Foundation, the Finnish broadcasting company YLE, and AVEK, The Promotion Centre for Audiovisual Culture.
We participated in several international film forums where we were also able to secure international finance and a German coproducer, Dirk Manthey Film.
W&H: What inspired you to become a filmmaker?
TA: People. I love people. I truly do. It’s all mundanity! There’s nothing more beautiful than watching someone do something they’ve done a thousand times before, like peeling an orange, or waxing skis. There’s an effortlessness about such actions that encapsulates both the sheer strength and ultimate fragility of humans and human activity that I like noticing and sharing with others.
W&H: What’s the best and worst advice you’ve received?
TA. My producers were both directors. They gave me the best advice. The advice was: “Try stuff. Trust your gut.” Best advice ever! Not just for filmmaking.
The worst advice came during some of the financing forums, which encouraged me and my producers to clearly “pick a side” when documenting the lives of missionaries. The idea was “the more distance you have, the more critical you can be, the more credibility you will have.” It was obvious from the beginning that intimacy and closeness were the keys to this film for me. Without it, there wouldn’t be a film. I had a hunch that remaining close would not, in fact, compromise objectivity – and it turns out I was right! We gained unique insight into the lives of these young people, their faith, and their world.
W&H: What advice do you have for other women directors?
TA: My advice: “Keep plugging away when you can.” I’ve spent the last five years or so getting up at 4 am so I can squeeze in a little work before my son wakes up and the day begins.
W&H: Name your favorite woman-directed film and why.
TA: “Lost in Translation” by Sofia CoppolaThis is one of my favourite films. It’s tender, it’s stringing together random moments, it looks at human connection, however fleeting. It’s true to life! I remember feeling as though I had experienced something when I left the theater. It made me realize that films don’t have to be action-packed to be captivating.
A close second is “The Rider.” Chloé Zhao’s work is incredibly inspiring. Her attention to detail and attention to detail are unsurpassed. I can almost smell the scenes she has created. That’s exactly what I want to do – but in documentary format.
W&H: How are you adjusting to life during the COVID-19 pandemic? Is creativity something you do?
TA: Life’s been rocky, especially on the personal front. The pandemic caused a separation from my father that was long in the making. Juggling everyday life and work commitments as a single parent to an only child amidst illness and erratic daycare can be challenging – no doubt about it! I’m creative every day. I draw and build Lego.
Attention is the key to my success. Life is happening all around, inside and out, all the time – there are countless stories to be told. My job is to see the world as it is and to allow stories to grow within me.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing – and creating – negative stereotypes. What are your suggestions for making it more inclusive?
TA: Another step could be more public financing.
Source: Women And Hollywood
