https://www.indiewire.com/features/interviews/sian-heder-best-picture-coda-next-film-being-heumann-1235213849/
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“A year later, it won Best Picture, changing Heder’s life forever .”
“Heumann set out to change that.”
“It was just very close to my heart.” There was also Judy Heumann.”
“What I pitched to Apple is ‘I want to make “Dog Day Afternoon” with disabled people.”
“First, she needs to be able to navigate the world around her, which was simply not built for her.”
“It’s not just the disabled cast that needed help.”
“But after ‘CODA,’ I had a rare moment of power in the industry where a lot of people wanted to make what I wanted to make.”
“I knew it was going to be an incredibly difficult film to make, and I felt I really had a partner with her.”
“Top of that list: curb cuts.”
““It’s shocking moment as a filmmaker, because suddenly there’s a bunch of eyes on you that were never there before,” she said.”
““Yes, on one hand, it’s a story about a disability rights activist in the 1970s,” Heder said.”
““Yes, Judy was a wheelchair user, but that was one element of her identity.”
““‘What are you going to do next?’ and ‘How are you going to follow that up?’ It took some time for me to tap back into why I tell stories and what moves me.”
“(They did, with first-time actor Charlie Rush-Reese, a gem in a sea of them.) She found Madeley in a slightly different way.”
““I was working with a deck designer to put images together when I was trying to get the movie greenlit at Apple, and he was British, and he said, ‘This character really reminds me of this actress, Ruth Madeley.”
“Even aside from performance, which is the most important thing, having a true collaborator in your lead actor is invaluable as a director.” Heder’s film is filled with incredible star turns by a number of new (and, in some cases, brand-new ) performers.”
““Ruth had done so much work before I ever met her, but I put her through the ringer.”
““Being Heumann” will premiere at the 2026 Toronto International Film Festival.”
““It took me a long time to get comfortable enough with my skillset, with my ability to be on a set, and go, ‘I actually don’t know.”
“I actually don’t know where we should put the camera right now.”
“Heder said she knew from her very first meeting with Heumann that she wanted to make a film about her.”
““Most disabled people at the time didn’t even really understand that they could demand to be a part of society or demand equal rights,” Heder said.”
““There was all of this interdependence that started to happen in the protest that was about survival, and that happened in real life on our set, where our cast started jumping in to fill each other’s needs in a way that is very hard to describe and was incredibly profound.” I mentioned how touching it is to see the way that Heder shows that on the screen, that everyone is useful and that everyone has something that they can do, when she added a compelling corollary.”
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“But things are changing.”
“We built ramps onto our set from every direction, and the grips were like, ‘Thank you.”