Oscar-nominated actress and Woman of the Hour director <a href="https://time.news/zac-efron-having-fun-with-the-premiere-of-a-household-affair-on-netflix-we-overview-his-romantic-comedy/" title="Zac Efron: having fun with the premiere of 'A Household Affair' on Netflix, we overview his romantic comedy”>Anna Kendrick revealed that she donated her profits from the sale of her feature directorial debut to two different charities, after feeling “gross” about the thought of making financial gains for her work on the new Netflix film about a real-life serial killer.
The 39-year-old Up in the Air and Pitch Perfect star recently told the Crime Junkie AF podcast that she felt conflicted over “some valid ethical questions around true crime” when discussing the film, and she never intended the film to be “a money-making venture” for her. She said she didn’t even consider that prospect until the film’s debut at the 2023 Toronto International Film Festival.
“Eventually, Netflix bought the movie. But, it wasn’t until the week before TIFF that I thought, oh, the movie’s going to make money,” Kendrick continued. “We just barely made the deadline to get into TIFF, then it was like, there’s going to be money exchanging hands. I asked myself the question about, ‘Do you feel gross about this?’ And I did.”
Leah Gallo/Netflix
Kendrick stressed that she’s “not making money off of the movie,” and “the money has gone to RAINN and to the National Center for Victims [of Crimes].”
The star said the topic is still a “complicated area,” though donating any money she would’ve pocketed from the film “felt like the least that I should do” after dramatizing real-life events.
When reached for comment, a spokesperson for the Rape, Abuse & Incest National Network provided a statement from Scott Berkowitz, the founder and president of the organization.
“We’re so grateful to Anna Kendrick for her support of RAINN and all survivors, and for being a compassionate storyteller when it comes to raising awareness of sexual violence,” the statement reads. “Her donation will help us continue to provide free, 24/7 support through RAINN’s National Sexual Assault Hotline.”
A representative for Kendrick also confirmed that the actress made a donation to both charities she spoke about on the Crime Junkie AF podcast.
Kendrick’s first-time outing as a director-star has proven to be a popular one, as the film hit No. 1 on Netflix’s streaming chart after its release earlier in October. The film follows the disturbing true story of a serial killer named Rodney Alcala, who appeared on a 1978 episode of The Dating Game amid his crimes.
Woman of the Hour is now streaming on Netflix.
Time.news Editor (TNE): Welcome to the Time.news interview series! Today, we have a special guest with us who has been making headlines not just for her incredible talent, but also for her ethical stance on true crime storytelling. Joining us is [Expert’s Name], an expert in film ethics and representation in media. Thank you for being here!
[Expert’s Name] (E): Thank you for having me! I’m excited to dive into this important conversation.
TNE: Let’s start with the buzz surrounding Anna Kendrick’s new film Woman of the Hour. She made headlines for donating her profits to charity after feeling uncomfortable about profiting from a film based on a real-life serial killer. What are your thoughts on this gesture?
E: I think it highlights a significant evolution in how filmmakers are approaching true crime narratives. Kendrick’s decision to donate her profits shows a deep awareness of the ethical implications involved in profiting from someone else’s tragedy. It’s a refreshing perspective, especially in an industry where the focus often leans towards financial gain.
TNE: Exactly! Kendrick expressed feeling “gross” about making money from her work. Why do you think she felt that way?
E: It speaks to the broader conversations happening around true crime as a genre. As audiences, we often find ourselves fascinated by these stories, but we must remember that there are real victims behind these narratives. This conflict Kendrick felt is likely rooted in a desire to honor those victims rather than exploit them for entertainment.
TNE: Right! She mentioned that she didn’t even consider the financial aspect of the film until its premiere at TIFF. In your opinion, should more filmmakers adopt this mindset when engaging with sensitive content?
E: Absolutely. Awareness is key. Filmmakers have a responsibility to consider the implications of their work. It’s not just about telling a story; it’s about how that story affects the lives of those it portrays and the audiences consuming it. Kendrick’s approach should inspire others to reflect on their projects and possibly think of ways to give back, especially when dealing with heavy subject matter.
TNE: Kendrick also raised some ethical questions about true crime in her podcast discussion. What do you think those questions could entail?
E: There are several layers to this conversation. Some important questions include: Is it ethical to profit from crime? Are we re-traumatizing victims and their families by telling these stories? And, importantly, do we respect the memory of the deceased? These questions highlight the delicate balance storytellers must find to honor the complexities of such narratives while engaging an audience.
TNE: It sounds like these are conversations we need to have more often in the film and media landscape. Do you think this could be a turning point for the genre?
E: I believe so! As audiences become more aware and vocal about the ethics of storytelling, we might see a shift in how true crime content is created. Filmmakers might feel encouraged to approach these stories with more sensitivity and responsibility, potentially leading to a new era of true crime that prioritizes ethical considerations alongside viewer engagement.
TNE: That’s very insightful! With the impact of social media and audience feedback, these ethical discussions are becoming more prominent. Do you see any potential future challenges that filmmakers may face in this space?
E: Definitely. While social media can amplify voices advocating for ethical storytelling, it can also lead to backlash against filmmakers who appear to mishandle sensitive content. Striking a balance between artistic expression and respect for real-life events will be crucial moving forward. Filmmakers will need to be more transparent about their intentions and perhaps even engage with communities impacted by the stories they’re telling.
TNE: Thank you, [Expert’s Name], for your thoughtful insights. It’s clear that Anna Kendrick’s actions are sparking valuable conversations about ethics in true crime storytelling. We appreciate your time today!
E: Thank you for having me! I hope this conversation continues to grow and shapes the future of filmmaking.