1 - Why did you want to do the sequel on sexual assault?

Derek - The topic of sexual assault was my first choice for the sequel, something I wanted to do pretty much right after we sent in the first documentary to be pressed. When I was working through university, I had the privilege to meet several, older survivors of sexual assault. These were women attending group, about 40 years and older. After meeting them and talking to them, I was immediately struck by their pain and how the assault(s) had affected them.

After finishing my masters degree, I began working here at the Sudbury Action Centre For Youth and almost immediately, I was bombarded with stories of sexual assault from many of the young females and males that would come into the drop-in. The pain in their voices, their body language...no matter how many times I hear these kinds of stories, I never get used to them.

So I wanted to do something to help. I kept having this vision in my head that one day we would bring this documentary into schools and there would be one person in the class, someone who has been assaulted and is keeping it inside. They would listen to the stories, feelings, and actions of the youth in the video, realize they are not alone in how they feel and tell someone about it. That way, the journey to healing can begin. Now, the possibility of that vision becoming a reality is a possibility.

2 - What was the hardest part of making this documentary?

Derek - Well, being exposed to such a difficult subject for such a long period of time. I listened to each youth and professional’s interviews probably over 30 times each to time code and story board the sequences. Besides that, by far the hardest part of the video was putting the score [the music] in the documentary. Music is a big part of any film but can also hurt a film if used too much. We wanted a balance that would not take away the youth and professional’s messages.

So every time Darrel (editor) and I placed a piece in, we would have to go back and listen to the documentary from the beginning or the beginning of the section to see if there was a building, emotional arc with the music but also a musical arc that matched the emotional arc of the film as well. To say that was difficult would be an understatement. Probably three days, 12 hours at day or more just to place about 5 total minutes (or less) of score.

3 - Favourite sequence of the film?

Derek - I love the entire film but if I had to choose, I would say the bus sequence (that is pretty much exactly how I envisioned it) as well as the “pressing charges” sequence. I am very proud about how that turned out. I hope it will open up some eyes as to why youth victims may not press charges.

When I shot the second narrator sequence, I wanted it to end with the lights turning off. Having Al Yzereef Jr. (classical guitar) write the music to match with the light turning off was also neat to see/hear completed. Also, there is a male youth that says consent [to have sexual relations] is “saying yes when you’re sober”. To have a male youth say that was awesome.

4 - Which sequence is the most impactful for you?

Derek - Again, I think the film as whole is very impactful but listening to the youth tell the audience how they felt after the assault is hard to listen to.