Vancouver-born producer Samantha Quan, who made Oscar-winning dramedy Anora, takes a photo in Wolfgang Puck’s kitchen.Samantha Quan/Supplied
There is a dark and distressing fairy tale laced throughout Anora, the ferociously paced dramedy following a struggling New York sex worker (Mikey Madison) who falls into an intense fling with the impetuous son of a Russian oligarch. But the real rags-to-riches story behind the low-budget film, which won five Academy Awards earlier this month, is more of the sunny and dream-like variety. Especially for Vancouver-born producer Samantha Quan, who alongside her director husband, Sean Baker, and fellow producer Alex Coco walked away with the Oscar for best picture.
After Anora’s whirlwind awards race – which took Quan straight from the Dolby Theatre in Hollywood to Tokyo – she caught up with The Globe and Mail by e-mail to discuss her happily-ever-after ending.
What was your evening like immediately after the Oscars broadcast ended?
We were like Dorothy swept up in a tornado. After the ceremony we did press and went to the Governors Ball to get our statuettes engraved, and I mentioned to Sean that I was hungry and then I felt a tap on my shoulder and a voice said, “Do you want some food?” I turned around and looked at a kind and recognizable face that said to me, “Hello! I’m Wolfgang Puck!” He offered to take our team and all the Oscars to the kitchen to eat dinner with his talented crew of chefs and it was so delicious (we hadn’t eaten since the morning) and surreal.
Then we headed to the Neon party to celebrate with all the lovely people who have been working for the film along with so many friends. (Sean and I were running late because we stopped at home to feed, walk and hug our dog.) We stayed out later than I can remember – 4 a.m.? The next day we packed our bags and headed to Japan to do international press.
What were the major awards-race milestones for Anora? How challenging was it to navigate constantly oscillating emotions as the film entered the Oscar shortlist?
The six nominations were big for us – being considered and getting those were definitely a milestone in itself, but I think that the weekend we won best film at Critics Choice, Directors Guild of America and Producers Guild of America was when we realized that Anora was alive in the Oscar race. It has been a long and educational road since Cannes. Sometimes it would be a city a day doing press and Q&As, then getting on a plane and doing it all over again. We were always grateful for the opportunity, but it was also exhausting.
Quan on the set of Anora, which follows a struggling New York sex worker (Mikey Madison) who falls into an intense fling with the impetuous son of a Russian oligarch.HO/The Canadian Press
Sean and Mikey in particular were everywhere and working so much to promote – it was dizzying. When there was negativity or people trying to cut us down when we were so tired were the only times it was a little difficult to keep going. But we had so much wonderful support that we learned to shake it off and keep it moving.
You and Sean brought another Canadian into the project – writer and filmmaker Andrea Werhun – to ensure that the film’s depiction of sex work remained authentic. What has the response been from the sex worker community?
We always try the best we can to make sure that the characters and stories get as much input as possible from all of our consultants with real-life experience in the stories we are telling. Andrea Werhun, Lindsey Normington, Luna Sofia Miranda, Sophia Carnabuci, Kennady Schneider (Mikey’s dance coach for the film), and many others were integral to the process of trying to be as authentic as possible.
Interestingly, you and Sean are not the only husband-and-wife teams behind a best picture contender this year, having made your way to the Oscars in the company of Dune’s Denis Villeneuve and Tanya Lapointe, and The Brutalist’s Brady Corbet and Mona Fastvold. How do you balance the personal and the creative elements of your relationship?
I don’t think that for us there is a balance. It’s our life. Our creative is personal and our personal is creative. Sometimes it’s difficult but everything is one day at a time. Communication is key, just like any relationship, and you make time for what is important in the moment. Sometimes there is a lot of juggling. It’s not for everyone but it’s never boring.
With Oscars history now made, what direction would you and Sean like to pursue for your next project? Is maintaining a similar scale as important to you?
We are committed to indie film. I cannot speak of what may come in the future in terms of scale, but I can say that we will continue to tell stories that are important to us in the way we are compelled to tell them.
How closely do you keep tabs on the industry back in Vancouver? Is there ever a point when you would consider making a film within the Canadian system?
Actually, we were about to make a film in Vancouver in 2020. For over two years we researched and we were ready to go. Sean wrote a powerful script, there was cast attached and we even did a test shoot. Then, heading into preproduction the pandemic happened, the borders closed and we had to pivot. We would love to make that film one day when the time is right. Who knows? We do love Canada and spend a lot of time there and when the right story comes along, it’s hard to not get excited and get that ball rolling.
