![]() ![]() Deaf actors play deaf characters who are fully realized and not defined solely by being deaf. Did you get a chance to bond before filming began and what did you learn from working with them?ĬODA is a strong example of representation done right. You had incredible scene partners in Marlee Matlin, Troy Kotsur, and Daniel Durant. Siân would be like, “OK, we got it right. When we did a scene that was more emotional, sometimes the CODAs would be crying. Most of our interpreters on set were CODAs, so it was great because they’d constantly be giving us their opinion. It’s kind of like playing two different characters in one. At school and when she’s singing, Ruby is shy and insecure, whereas when she’s interpreting for her family, she’s confident and powerful. There are so many mixed feelings and I think Siân wanted to make sure no beat was missed. They sometimes feel like it’s a burden, but they wouldn’t have it any other way. CODAs often feel like they’re the communication bridge between the hearing world and the deaf world, but don’t belong to either. What did you take away from your early discussions with Siân about Ruby as a character? ![]() Siân wanted it to feel as authentic as possible. All the singing in CODA was recorded live on set, so she also prepared me for that. It’s not a big song and I didn’t belt it, but when I turned up for my first singing session, my teacher said, “They want you to sing Etta James, Christina Aguilera and Aretha Franklin.” I wouldn’t have chosen those songs, but she helped me grow and gave me confidence. I auditioned with a gentle cover of “Landslide” by Fleetwood Mac on my guitar. The music part of things was a tiny bit daunting. ![]() As time went on, I became more confident and because I wasn’t allowed to use an interpreter on set-I had to sign and keep up with conversations-that helped me improvise. Sometimes things would change on the day, as they do on any other project, and she’d never say, “Keep yours the same.” She’d be like, “You change too,” and we’d be signing over the craft table. She really pushed me and I love her for it. On set, Anne Tomasetti was my ASL director. They found me an amazing deaf coach who taught me ASL, but also about deaf culture and the nuances. ![]() Siân told me before we started filming and I was like, “Oh my goodness.” The minute I got the part, I went into ASL training and singing lessons. Was it daunting to go in knowing that, as well as how much preparation would be required, from learning ASL to singing? Hundreds of girls auditioned to play Ruby. It’s a path that bewilders her clan (“If I was blind, would you like to paint?” her mother asks her), but Ruby slowly realizes that, despite her sense of responsibility, she can’t stay behind and act as their interpreter forever. Everything changes, however, when she joins her school’s choir and discovers a passion for singing that could send her to the prestigious Berklee College of Music in Boston. Growing up in the small town of Gloucester in Massachusetts, she’s the sole hearing member of her deaf family and prides herself on helping her parents (Marlee Matlin and Troy Kotsur) and older brother (Daniel Durant) with their struggling fishing business. It centers on a child of deaf adults (CODA) named Ruby and played with sensitivity and heart by the captivating Emilia Jones. It may come as a surprise, then, that in some ways the film is a rather conventional high-school comedy-it features a spirited best friend character, a blushing crush, and a flamboyant, encouraging music teacher-but in other ways, it’s far from it. dramatic category and is poised to head into 2022 as a leading Oscar contender. Siân Heder’s moving coming-of-age saga about a teen torn between family obligations and her own ambitions was met with rave reviews, acquired by Apple for a record-setting $25 million, became the first movie in history to win all of the festival’s top prizes in the U.S. CODA has been breaking boundaries since it bowed at Sundance at the start of this year. ![]()
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