September 28, 2024 • 13 mins
Kiwi director Christine Jeffs has returned to the film scene after a sixteen-year break with a medical drama that's drawing in interest and acclaim.
A Mistake, starring Elizabeth Banks, is based on the highly-regarded 2019 novel of the same name and it explores medical mishaps, ethics and hospital politics.
Christine Jeffs says working with Elizabeth Banks - who recently pivoted to the world of directing with 2023's Cocaine Bear - was an interesting experience
"She's fully committed - it did take a bit of technical rehearsal and so on. And of course, being in every scene, there wasn't much of a letup for her. She was on screen in just about every shot."
A Mistake is in cinemas on October 10th.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
You're listening to the Sunday Session podcast with Francesca Rudkin
from News TALKSB.
Speaker 2 (00:12):
New Zealand born director Christine Jeff's turned heads with her
two thousand and one debut Rain. She began her career
locally here in New Zealand, working in post production and
as an assistant film editor, as well as directing feature films.
Christine has directed commercials, exhibited as a photographer, completed a
master's degree in fine arts, and written countless screenplays. And
(00:33):
she's no stranger at working with big names, directing stars
like Gwyneth Paltrow and Daniel Craig in two thousand and three,
Sylvia and Amy Adams and Emily Blunt in two thousand
and eight Sunshine Clearing. But it has been sixteen years
since she last delivered a feature film, and it's a
New Zealand book that has sparked her return. In Christine's
adaptation of the Acclaim twenty nineteen novel Are Mistake, Elizabeth
(00:55):
Banks stars in a story of medical misadventure, ethics, and
hospital politics.
Speaker 1 (01:00):
Good afternoon, this is a mobility and mortality meeting.
Speaker 3 (01:04):
We're going to be discussing errors made by the surgical
staff in Lisa Williams.
Speaker 2 (01:09):
Case, we.
Speaker 1 (01:17):
Prefers by our daughter is in the mark.
Speaker 2 (01:27):
Interesting. Jeff's joins me.
Speaker 3 (01:28):
Now, good morning, Oh, good morning, Francesca.
Speaker 2 (01:31):
I realized I left off the horses. How are the horses?
Have you still got your horses?
Speaker 3 (01:35):
I'm about to go and pick up poop shortly? Yes
I do.
Speaker 2 (01:39):
It's still riding.
Speaker 3 (01:41):
Yes, yes I am. I am. Indeed, that gets me outdoors,
gets my adrenaline going, keeps me focused.
Speaker 2 (01:49):
Brilliant, brilliant. Now and mister Elizabeth Banks is an impressive
get for this film. A mistake. She's brilliant in this role.
Did you write this part with her in mind?
Speaker 1 (02:01):
No?
Speaker 3 (02:01):
Actually, it's such such a long process making a film,
so first the story and the script, and then the
financing and then the casting and so so many things
have to come together at once for an actor to
become involved. So so no, it was as a long process.
(02:23):
And she happened to have a window about the time
that all lap financing came together and we managed to
get the script to her team. They read it and
loved it for her, and then the ball started rolling.
Immediately I spoke with her and she loved it. There's
you know, it's a really complex female character, so that's
a little bit rare in some of the material she
(02:44):
might have read. You know. Obviously she had a good
go of it with Paul Jane, which is a drama
she did before. But no, I think she's really keen
to get into some dramatic acting and she did an
absolutely amazing job.
Speaker 2 (02:57):
Yeah she did. I really think we've forgotten how good
an actress she is, possibly because she's been in a
lot more sort of popular film popular films were sort
of quite quirky roles and things.
Speaker 3 (03:07):
Yeah, exactly. She trained dramatically originally, so she's very keen
to show off those chops and to get into a
meeting role. Yeah. So she was fully committed and it
did take a little bit of technical rehearsal and so
on and so forth, and of course being in every scene,
there wasn't much of a let up for her. You know,
she was on screen just about in every shot in
(03:27):
the film, so it was pretty intense.
Speaker 2 (03:30):
What was she like to work with?
Speaker 3 (03:33):
She's very interesting. She's of course, she's a director herself,
so she's very upfront and outspoken and says what she wants.
She works really hard and she's focused.
Speaker 2 (03:48):
I wondered whether being a director is helpful for you
and your job. Does it make communicating about what you're
wanting and doing easier or more difficult?
Speaker 3 (03:59):
Oh, that's such a complex question because at the end
of the day, I think everyone is Every actor is
so different and how they want to receive notes if
you like performance notes, and then every director is different
as well. So if you imagine that combination coming together,
you bring personality into it, you bring the vision and
nuance of what's required. And yeah, it's an interesting process
(04:24):
to navigate. And there's not really any rule books. So
it's about setting up trust. And I see myself as
supporting her to dive as deeply as she can, and
so I always feel myself I'm there to be there
to help your dive deep.
Speaker 2 (04:40):
Isn't that good though, because it wouldn't it be boring
if there was kind of like a rule book that
everybody adhered to, the director and the editors, and every
time every time you turned up on a set, you goka,
this is the way we work, you know.
Speaker 3 (04:51):
Oh, I know, well, you know it might be Yeah,
I mean it keeps you on your toes. I have
to pay because you never quite know, you know, what
kind of ingredients are coming into the mix. It's a
bit like making a cake and you s go, I
think I wanted to come out like this, and if
I add a bit more ginger, how's that going to go?
So yeah, you throw all the ingredients together. And of
course it's such a collaborative medium. You have a crew
(05:12):
around you and and and you know, you think when
you see an intimate performance, you think, oh, you know,
you can imagine a quiet space and that happening. But
of course a film set's pretty much chaos, no matter
how hard you try and control the elements as people
around in the background and an eyelines and things like that.
So you know, it's it's never ideal. So you just
(05:32):
keep moving forward and trusting that you're going to feel
those great emotional moments when they come through, and that
you've set up the relationships as best you can with
the other actors and everyone contributes.
Speaker 2 (05:46):
The Kiwi accent. It's a difficult one, isn't it. Elizabeth
does a pretty good job.
Speaker 3 (05:51):
Yeah, she's slightly what do they call it admitted? You know,
she's someone who's traveled, so she's lived in America, and
she's lived in England and trained in England, and so
it sort of slips and slides a little all over
the place, I think, which is kind of fine by me.
Speaker 2 (06:05):
What a treck did you to the story, Christine?
Speaker 3 (06:08):
Yeah, Well, firstly, Karl's book. I love his book. I
did read it a few times. I was looking for
a complex female character and something that I could cast
a really good, strong female lead with. So the book
gave us that and gave us an incredible plot with
lots of kind of events happening one after another. I
(06:32):
love the nuance in it and the themes essentially, you know,
it's about human fallibility and how we are with each other,
and not about the procedure of the mistake so much,
but like the unraveling of that, like how we communicate
with each other and so on and so forth. So
and also, you know, my personal life, I'd been involved
(06:56):
with my you know, my partner had a situation of
medical misadventure. So it's really just opens your eyes to
advocacy and the kinds of things that can happen obviously
in the health system here in particular, as well as
all over the place, because so much of this is
universal with you know, as shortage of doctor understaffing and
nursing and all that stuff. So, yeah, and the book collided,
(07:20):
I think.
Speaker 2 (07:20):
And it's something which I think a lot of us
encounter at a time that the film sort of looks
at that gap that exists between what an average person
or a patient's understanding of a medical issue or the
system is and what the medical experts is. It's, you know,
there is this huge gap there between us, and it's
how information is communicated or not, which is so important,
doesn't it.
Speaker 3 (07:42):
Yeah, totally. And also as we saw in the fin
our room scene, for example, of Reenda Owen and Matthew Sundland.
Speaker 2 (07:50):
Playing the wonderful yes, thank you.
Speaker 3 (07:53):
Yeah, And I mean I think the sort of my
interpretation there and their interpretation allowed the allows the audience,
I hope, to sit in that space of that uncertainty
and the power of Renna there, you know, just asking
questions and the father we can see that exactly what
you're saying, there's a huge gap there. But also from
(08:15):
the doctor's point of view, she's confronted with their grief
and what's appropriate for her to say when she hasn't
got the bureaucracy in the room as it were, So
you know, there's a sort of a fumbling on how
that can be, and a defensiveness and an attack, and
it's all very human. So I think that, you know,
that's one of the mistakes she makes, also not talking
(08:38):
to them directly after the operation and just just live
the little things. How she talks to her registrar. There's
an accumulation of human errors and I think, you know,
one of the things our surgeon, who was our consultant,
surgeon Avanis Shama, said, you know, there's a move towards
(08:58):
restorative conversations, and you know, that's something I think is
pretty exciting.
Speaker 2 (09:05):
It's been a while between films. I mean, obviously you've
been very busy, but sixteen years. Is that the nature
of the business or the way you like it?
Speaker 1 (09:14):
Oh?
Speaker 3 (09:14):
No, I think I'd like to have a little more
momentum than that. But to be honest, I think time
passed and I didn't really realize because I immersed myself
fully and all the things that life offers. And you know,
by the time, I've written a sort of a couple
of screenplays, and I've directed commercials, and I've did my master's.
Of course, and then there was COVID and then of
(09:36):
course this coming to the screen has taken three years
time it's written. So yeah, I life short, isn't it.
I mean, yeah, it's been a little while and I
didn't realize it was going so fast.
Speaker 2 (09:52):
Christine, you started out as an editor, and something I'm
curious about is do we gain editors enough kudoffs for
the contribution they make to the storytelling.
Speaker 3 (10:01):
Well, I always remember what a long commitment it was,
you know, after shooting film day in, day out, you know,
crafting and structuring and working with all this material. So
they are yeah, hidden force, you know. And so directors
rely on their relationship with editors because after a while,
(10:24):
you could get lost in the material and the kinds
of choices, and you really need someone who's completely solid
and can once you've had the conversations about the tone
of a scene or a performance or a relationship between
characters in a scene, you really need to hold those
(10:45):
kind of lines and the rhythm of those lines for
the film to kind of have a cohesive kind of
tone and pull overall. So yes, I don't don't. I
don't really know. I just think perhaps they're not that
they're kind of hidden from the the sort of outside
glamour of the process. They're not on set, so yeah,
they're behind the scene and they work away quietly and methodically. Yeah.
Speaker 2 (11:11):
So I'm sure there's an editor or two out there
right now going do you know what I save that directors?
Speaker 3 (11:16):
But totally, yeah, totally.
Speaker 2 (11:20):
Has it been good to get out on the film
festival circuit again, Yeah.
Speaker 3 (11:24):
Yeah, I mean I'm so appreciative that we were able
to go to Tribeca in June and see the film
with an audience for the first time, and so I
did three question and answer sessions there. That's when you
sort of watch the movie with the audience and then
you get to stand up afterwards and answer all their
they throw questions at you. And what was what was
(11:46):
amazing was just to sort of see how universal the
themes were and how passionate people were about this, you
know that you know in America as well as New Zealand,
and yeah, I've had a lot of really positive response
And if I hadn't have been there to see it
with the audience, then I would kind of had that
(12:07):
kind of boost that it gives you. Really you sort
of feel like, oh, there it is I've handed it
over now and I can respond in the conversation, can start,
you know, how to give away it might And I
think that's for me such an important part of the process,
is like it's not the end, but it's kind of like, Okay,
the film will now engender these kinds of feelings and responses,
(12:32):
and that's really exciting.
Speaker 2 (12:34):
Absolutely. One of the things that talks about in the
film at You, which I'd love to bring up, is
the idea of surgical outcomes being made public. Is that
something that we do in New Zealand.
Speaker 3 (12:43):
Well, I took advice from Carl on that because he
knows all things medical, and no, we don't do it
in New Zealand, but other countries do. And Karl said
it could happen at any time. You know, these are
kind of policies that kind of get discussed from time
to time. So yeah, and I think we see both
(13:04):
sides of that argument from our main character in the film,
but we also hear from the ethicist about you know,
transparency and consent and you know, we all want to
know what goes on behind the scenes in the medical
world as people who might participate on the other side
of it. You know, if we're not doctors or medical professionals.
(13:26):
So I do think they're really interesting and divisive kind
of subjects to kind of raise, you know, they're heated.
Speaker 2 (13:35):
Absolutely, Christine, thank you so much for the film. Great
to see you've got another feature out. Keep the momentum up.
Speaker 3 (13:44):
Thank you so much. I really appreciate it.
Speaker 2 (13:48):
That was Christine. Jess. There and a Mistake is in
cinemas on October the tenth. The panel is up next.
Speaker 1 (13:55):
For more from the Sunday session with Francesca Rudkin, listen
live to News Talks. It'd be from nine am Sunday,
or follow the podcast on iHeartRadio
You're listening to the Sunday Session podcast with Francesca Rudkin
from News TALKSB.
Speaker 2 (00:12):
New Zealand born director Christine Jeff's turned heads with her
two thousand and one debut Rain. She began her career
locally here in New Zealand, working in post production and
as an assistant film editor, as well as directing feature films.
Christine has directed commercials, exhibited as a photographer, completed a
master's degree in fine arts, and written countless screenplays. And
(00:33):
she's no stranger at working with big names, directing stars
like Gwyneth Paltrow and Daniel Craig in two thousand and three,
Sylvia and Amy Adams and Emily Blunt in two thousand
and eight Sunshine Clearing. But it has been sixteen years
since she last delivered a feature film, and it's a
New Zealand book that has sparked her return. In Christine's
adaptation of the Acclaim twenty nineteen novel Are Mistake, Elizabeth
(00:55):
Banks stars in a story of medical misadventure, ethics, and
hospital politics.
Speaker 1 (01:00):
Good afternoon, this is a mobility and mortality meeting.
Speaker 3 (01:04):
We're going to be discussing errors made by the surgical
staff in Lisa Williams.
Speaker 2 (01:09):
Case, we.
Speaker 1 (01:17):
Prefers by our daughter is in the mark.
Speaker 2 (01:27):
Interesting. Jeff's joins me.
Speaker 3 (01:28):
Now, good morning, Oh, good morning, Francesca.
Speaker 2 (01:31):
I realized I left off the horses. How are the horses?
Have you still got your horses?
Speaker 3 (01:35):
I'm about to go and pick up poop shortly? Yes
I do.
Speaker 2 (01:39):
It's still riding.
Speaker 3 (01:41):
Yes, yes I am. I am. Indeed, that gets me outdoors,
gets my adrenaline going, keeps me focused.
Speaker 2 (01:49):
Brilliant, brilliant. Now and mister Elizabeth Banks is an impressive
get for this film. A mistake. She's brilliant in this role.
Did you write this part with her in mind?
Speaker 1 (02:01):
No?
Speaker 3 (02:01):
Actually, it's such such a long process making a film,
so first the story and the script, and then the
financing and then the casting and so so many things
have to come together at once for an actor to
become involved. So so no, it was as a long process.
(02:23):
And she happened to have a window about the time
that all lap financing came together and we managed to
get the script to her team. They read it and
loved it for her, and then the ball started rolling.
Immediately I spoke with her and she loved it. There's
you know, it's a really complex female character, so that's
a little bit rare in some of the material she
(02:44):
might have read. You know. Obviously she had a good
go of it with Paul Jane, which is a drama
she did before. But no, I think she's really keen
to get into some dramatic acting and she did an
absolutely amazing job.
Speaker 2 (02:57):
Yeah she did. I really think we've forgotten how good
an actress she is, possibly because she's been in a
lot more sort of popular film popular films were sort
of quite quirky roles and things.
Speaker 3 (03:07):
Yeah, exactly. She trained dramatically originally, so she's very keen
to show off those chops and to get into a
meeting role. Yeah. So she was fully committed and it
did take a little bit of technical rehearsal and so
on and so forth, and of course being in every scene,
there wasn't much of a let up for her. You know,
she was on screen just about in every shot in
(03:27):
the film, so it was pretty intense.
Speaker 2 (03:30):
What was she like to work with?
Speaker 3 (03:33):
She's very interesting. She's of course, she's a director herself,
so she's very upfront and outspoken and says what she wants.
She works really hard and she's focused.
Speaker 2 (03:48):
I wondered whether being a director is helpful for you
and your job. Does it make communicating about what you're
wanting and doing easier or more difficult?
Speaker 3 (03:59):
Oh, that's such a complex question because at the end
of the day, I think everyone is Every actor is
so different and how they want to receive notes if
you like performance notes, and then every director is different
as well. So if you imagine that combination coming together,
you bring personality into it, you bring the vision and
nuance of what's required. And yeah, it's an interesting process
(04:24):
to navigate. And there's not really any rule books. So
it's about setting up trust. And I see myself as
supporting her to dive as deeply as she can, and
so I always feel myself I'm there to be there
to help your dive deep.
Speaker 2 (04:40):
Isn't that good though, because it wouldn't it be boring
if there was kind of like a rule book that
everybody adhered to, the director and the editors, and every
time every time you turned up on a set, you goka,
this is the way we work, you know.
Speaker 3 (04:51):
Oh, I know, well, you know it might be Yeah,
I mean it keeps you on your toes. I have
to pay because you never quite know, you know, what
kind of ingredients are coming into the mix. It's a
bit like making a cake and you s go, I
think I wanted to come out like this, and if
I add a bit more ginger, how's that going to go?
So yeah, you throw all the ingredients together. And of
course it's such a collaborative medium. You have a crew
(05:12):
around you and and and you know, you think when
you see an intimate performance, you think, oh, you know,
you can imagine a quiet space and that happening. But
of course a film set's pretty much chaos, no matter
how hard you try and control the elements as people
around in the background and an eyelines and things like that.
So you know, it's it's never ideal. So you just
(05:32):
keep moving forward and trusting that you're going to feel
those great emotional moments when they come through, and that
you've set up the relationships as best you can with
the other actors and everyone contributes.
Speaker 2 (05:46):
The Kiwi accent. It's a difficult one, isn't it. Elizabeth
does a pretty good job.
Speaker 3 (05:51):
Yeah, she's slightly what do they call it admitted? You know,
she's someone who's traveled, so she's lived in America, and
she's lived in England and trained in England, and so
it sort of slips and slides a little all over
the place, I think, which is kind of fine by me.
Speaker 2 (06:05):
What a treck did you to the story, Christine?
Speaker 3 (06:08):
Yeah, Well, firstly, Karl's book. I love his book. I
did read it a few times. I was looking for
a complex female character and something that I could cast
a really good, strong female lead with. So the book
gave us that and gave us an incredible plot with
lots of kind of events happening one after another. I
(06:32):
love the nuance in it and the themes essentially, you know,
it's about human fallibility and how we are with each other,
and not about the procedure of the mistake so much,
but like the unraveling of that, like how we communicate
with each other and so on and so forth. So
and also, you know, my personal life, I'd been involved
(06:56):
with my you know, my partner had a situation of
medical misadventure. So it's really just opens your eyes to
advocacy and the kinds of things that can happen obviously
in the health system here in particular, as well as
all over the place, because so much of this is
universal with you know, as shortage of doctor understaffing and
nursing and all that stuff. So, yeah, and the book collided,
(07:20):
I think.
Speaker 2 (07:20):
And it's something which I think a lot of us
encounter at a time that the film sort of looks
at that gap that exists between what an average person
or a patient's understanding of a medical issue or the
system is and what the medical experts is. It's, you know,
there is this huge gap there between us, and it's
how information is communicated or not, which is so important,
doesn't it.
Speaker 3 (07:42):
Yeah, totally. And also as we saw in the fin
our room scene, for example, of Reenda Owen and Matthew Sundland.
Speaker 2 (07:50):
Playing the wonderful yes, thank you.
Speaker 3 (07:53):
Yeah, And I mean I think the sort of my
interpretation there and their interpretation allowed the allows the audience,
I hope, to sit in that space of that uncertainty
and the power of Renna there, you know, just asking
questions and the father we can see that exactly what
you're saying, there's a huge gap there. But also from
(08:15):
the doctor's point of view, she's confronted with their grief
and what's appropriate for her to say when she hasn't
got the bureaucracy in the room as it were, So
you know, there's a sort of a fumbling on how
that can be, and a defensiveness and an attack, and
it's all very human. So I think that, you know,
that's one of the mistakes she makes, also not talking
(08:38):
to them directly after the operation and just just live
the little things. How she talks to her registrar. There's
an accumulation of human errors and I think, you know,
one of the things our surgeon, who was our consultant,
surgeon Avanis Shama, said, you know, there's a move towards
(08:58):
restorative conversations, and you know, that's something I think is
pretty exciting.
Speaker 2 (09:05):
It's been a while between films. I mean, obviously you've
been very busy, but sixteen years. Is that the nature
of the business or the way you like it?
Speaker 1 (09:14):
Oh?
Speaker 3 (09:14):
No, I think I'd like to have a little more
momentum than that. But to be honest, I think time
passed and I didn't really realize because I immersed myself
fully and all the things that life offers. And you know,
by the time, I've written a sort of a couple
of screenplays, and I've directed commercials, and I've did my master's.
Of course, and then there was COVID and then of
(09:36):
course this coming to the screen has taken three years
time it's written. So yeah, I life short, isn't it.
I mean, yeah, it's been a little while and I
didn't realize it was going so fast.
Speaker 2 (09:52):
Christine, you started out as an editor, and something I'm
curious about is do we gain editors enough kudoffs for
the contribution they make to the storytelling.
Speaker 3 (10:01):
Well, I always remember what a long commitment it was,
you know, after shooting film day in, day out, you know,
crafting and structuring and working with all this material. So
they are yeah, hidden force, you know. And so directors
rely on their relationship with editors because after a while,
(10:24):
you could get lost in the material and the kinds
of choices, and you really need someone who's completely solid
and can once you've had the conversations about the tone
of a scene or a performance or a relationship between
characters in a scene, you really need to hold those
(10:45):
kind of lines and the rhythm of those lines for
the film to kind of have a cohesive kind of
tone and pull overall. So yes, I don't don't. I
don't really know. I just think perhaps they're not that
they're kind of hidden from the the sort of outside
glamour of the process. They're not on set, so yeah,
they're behind the scene and they work away quietly and methodically. Yeah.
Speaker 2 (11:11):
So I'm sure there's an editor or two out there
right now going do you know what I save that directors?
Speaker 3 (11:16):
But totally, yeah, totally.
Speaker 2 (11:20):
Has it been good to get out on the film
festival circuit again, Yeah.
Speaker 3 (11:24):
Yeah, I mean I'm so appreciative that we were able
to go to Tribeca in June and see the film
with an audience for the first time, and so I
did three question and answer sessions there. That's when you
sort of watch the movie with the audience and then
you get to stand up afterwards and answer all their
they throw questions at you. And what was what was
(11:46):
amazing was just to sort of see how universal the
themes were and how passionate people were about this, you
know that you know in America as well as New Zealand,
and yeah, I've had a lot of really positive response
And if I hadn't have been there to see it
with the audience, then I would kind of had that
(12:07):
kind of boost that it gives you. Really you sort
of feel like, oh, there it is I've handed it
over now and I can respond in the conversation, can start,
you know, how to give away it might And I
think that's for me such an important part of the process,
is like it's not the end, but it's kind of like, Okay,
the film will now engender these kinds of feelings and responses,
(12:32):
and that's really exciting.
Speaker 2 (12:34):
Absolutely. One of the things that talks about in the
film at You, which I'd love to bring up, is
the idea of surgical outcomes being made public. Is that
something that we do in New Zealand.
Speaker 3 (12:43):
Well, I took advice from Carl on that because he
knows all things medical, and no, we don't do it
in New Zealand, but other countries do. And Karl said
it could happen at any time. You know, these are
kind of policies that kind of get discussed from time
to time. So yeah, and I think we see both
(13:04):
sides of that argument from our main character in the film,
but we also hear from the ethicist about you know,
transparency and consent and you know, we all want to
know what goes on behind the scenes in the medical
world as people who might participate on the other side
of it. You know, if we're not doctors or medical professionals.
(13:26):
So I do think they're really interesting and divisive kind
of subjects to kind of raise, you know, they're heated.
Speaker 2 (13:35):
Absolutely, Christine, thank you so much for the film. Great
to see you've got another feature out. Keep the momentum up.
Speaker 3 (13:44):
Thank you so much. I really appreciate it.
Speaker 2 (13:48):
That was Christine. Jess. There and a Mistake is in
cinemas on October the tenth. The panel is up next.
Speaker 1 (13:55):
For more from the Sunday session with Francesca Rudkin, listen
live to News Talks. It'd be from nine am Sunday,
or follow the podcast on iHeartRadio
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