RSA's Paul Andrew Williams Asks 'Do You See Her?'

It’s no surprise that charity films are often the hardest-hitting. For one, they tend to be about shocking people into action and, regardless of the intent, the subject matter itself can’t help but be more affecting than your average commercial break fodder. However, it takes a sensitive hand to portray tricky topics in a non-sensational manner. Such an example is the latest hard-hitting film for UK-based charity Women’s Aid, helmed by RSA director Paul Andrew Williams.

For ‘Do You See Her’, the ‘London To Brighton’ director brought together an incredible cast of renowned character actors (Anne-Marie Duff from Suffragette and Shameless, Phil Davis of Quadrophenia and Whitechapel and Only Fools, and Horses’ Tessa Peake-Jones) to tell the story of an older married couple who’s surface-level domestic calm belies the abuse taking place in the background. Alongside the main cast, Louiza Patikas, who plays domestic abuse victim Helen in BBC Radio 4’s The Archers, aptly provides the voiceover. Based on Women’s Aid 40 years of experience that older women often do not access support or ask for help, despite domestic abuse happening to women of all ages, the film is powerful and engaging.

We sat down with Paul Andrew Williams on a break from filming the next series of 'Broadchurch' for a quick chat about how he got his hands on the project, his experience in directing gritty and important dramatic moments and how portraying that tone affects the filming space.

How did you get involved in the ‘Do You See Her’ film?

After doing ‘Murdered By My Boyfriend’ I had an introduction to Women’s Aid and ended up chatting to Teresa Parker (‎Media Relations & Communications Manager at Women's Aid) and saying I’d love to do something if ever you need it. And I’d met Kai (Hsiung, RSA MD) and Ridley Scott a few times and I asked if they’d help me. It all came together from that really.

The piece has a cracking cast (Tessa Peake-Jones, Phil Davis and Anne-Marie Duff)? How did you assemble them?

I’d written it and we were looking at different people. I knew Anne-Marie Duff had already done some work with Women’s Aid, and I knew Phil Davis via Facebook. It was all very lucky that we got these people.

The subject matter is obviously a very sensitive one. Did you have any hesitation/concern in getting involved in the project?

Never. The more sensitive it is the more interested I am in doing it.

How long was the shoot? Were there any issues?

A day. Not crazy long but a quick turnaround.

When it comes to directing experienced actors like that, how much input do you need to give?

It depends on what you’re doing. If you’re doing something like this, it’s a short turnaround but you’re shooting with actors who are pretty professional and ‘know’ what they’re doing. If you’re doing long form you spend a lot more time getting into the character. But we all had a chat and put our heads together and in terms of the acting, I think they were all really great.

You’re obviously no stranger to filming scenes of stark, brutal realism. How do you get the atmosphere right? Are there special elements you need to address with the crew/cast?

The thing is, it’s important to me that everyone is having a good time on set. In terms of creating the mood in the piece you just tap into what you think is going to have an effect on someone. When building the atmosphere music and sound obviously really help. I like the idea of working an audience to keep them guessing so that they don’t necessarily understand straight away, and then it hits them.

Does your approach change when directing shorts as opposed to features/TV episodes?

Not really, just shoot it and hope it comes together.

The edit of the film really adds a jarring quality to the images (the juxtaposition of ‘idyllic life’ with the reality). Were you heavily involved in constructing it? Was it shot to be intercut in that way or was that something that came out of the process?

That was always the plan. In the script it was back to front, and once we were filming it we decided it should be the same again so we’re seeing everything again but with fresh eyes.