The Woman Who Waited to the End of the World centres around Sadie, a lonely dog thief who is caught in a spiral of self-loathing when she bumps into the dog’s owner in the final days before the sun disappears. The film’s message is one of self-acceptance and finding connection in the most unlikely of scenarios.
Crystal (Sadie):
What drew you to this role, and what about the character’s story spoke to you personally?
“I loved the ‘end of the world’ concept as soon as I read it. To take such a pessimistic character who already has their own set opinions of the world and having her find companionship in Ezer the dog in such a high stakes setting revealed layers that I wanted to explore.”
How did you prepare for playing this character, and what did you learn through that experience?
“In the film, Sadie expresses that she feels more comfortable around dogs as they are easier to love than people. Although this character isn’t written as having a facial difference, the familiar feeling of being an outsider due to my appearance is something I feel daily.
“I created a list of similarities and differences between myself and Sadie and then explored how she presented herself to the world vs the person she is inside. In the end, I learned all she desired was companionship, she just didn’t know how to express it. It was my job to show hints of that in the film hoping the audience understood her a bit better.”
Crystal as Sadie alongside Ezer the dog (credit: Lona Fontaine)
The film touches on themes of isolation and connection. How did you channel those emotions into your performance?
“I acquired a facial difference from having a rare form of bone cancer when I was eighteen years old. I spent the majority of my late teens and early 20s hiding and feeling ashamed of my looks, so I easily related to Sadie’s feelings of isolation. I wanted to be alone but at the same time wanted to connect with people. I immediately felt like Sadie was the same way. Something must have happened in her life to treat people as her enemy, but it only takes one person to change her outlook.”
Was there a particular moment during filming that stood out to you as especially meaningful or transformative?
“There’s a scene in the film where Sadie expresses her anticipation for when the sun disappears. She feels that when the world ends, maybe she will finally be treated fairly and be able to accept herself.
“This scene brought up some memories for me. I used to think that if I were to get into drama school and become a success that it would stop the self-conscious feelings I got when people stared at me in the street. Obviously, this was not the case, as I still get overwhelming anxiety on my bad days when people stare. However, it reinforced how human beings can sometimes wish that the grass is greener on the other side, when in reality we have to learn to deal with what we have in front of us the best we can.”
What do you hope audiences take away from your character’s journey?
“I hope that the audience is reminded that we, as human beings, are social by nature. You can be introverted or extroverted, but we can’t do much or go far if it’s by ourselves. There is a tribe out there for everyone – the right people will find you. It just takes that one step.”
Crystal (Sadie) and Lona (director):
The film is centred on finding connection in unlikely places. What message do you hope viewers take away from this theme?
Crystal: “That nobody is inherently bad. If you give people a chance and get to know them, then you would be surprised at what you might discover.”
Lona: “That human connection is vital. We need meaningful relationships in our life, no matter how misanthropic we think we may be.”
How did you collaborate to bring the emotional depth of the story to the screen?
Crystal: “Before the shoot, we had a few rehearsals, but the most important part of the process was when Lona was kind enough to open her home to me for two nights. We talked about the movie, the character of Sadie, ourselves and our dreams. We had a lot of time to get to know each other, which made the emotional depth easier to convey as I felt comfortable.”
Lona: “Crystal is such a fantastic actress. She really got the character of Sadie, and I didn’t have to do much to coax it out of her. We had a lot of deep conversations about the role, and about life, which I think really helped Crystal understand elements of Sadie.”
Crystal used her own experiences to connect with the character of Sadie (credit: Lona Fontaine)
What was the atmosphere like on set, given the mix of intense themes and lighter moments?
Crystal: “The atmosphere was supportive and understanding. We spent most of our scenes outside, so it was very cold. The eye at the side of my face where my difference is more poignant waters a lot, to the point where I had to take some breaks between takes to wipe my tears away. Everyone was so patient, which made me feel at ease on set.”
Lona: “I was blessed with such an amazing team on this, so it was a really good atmosphere, despite the British weather! Crystal is literally my healing crystal – she radiates positive energy, and Ash Felkner, who plays Abigail, was also such a delight to work with. She’s such a talented, sweet and compassionate soul. I lucked out working with them both. I also got to work again with my friend, and talented DOP, Bradley Shemmell. Everyone involved helped keep up spirits on set.”
How do you feel this film contributes to the larger conversation about representation and empathy in cinema?
Crystal: “Although Sadie does not have a scripted facial difference, I think the film will still open conversation about how marginalised groups can feel isolated in different ways. Nobody’s journey is linear, including Sadie’s, and that’s what makes the story so interesting.”
Lona is passionate about greater representation in film (credit: Lona Fontaine)
Lona: “If our film in any way adds to the conversation around the need for visibility for those with facial differences in the industry, I’d be so happy. I must admit, before Crystal came into my life, it’s something I’d never thought about. That’s probably down to the lack of representation on screen.
“It wasn’t until A Different Man this year – Adam Pearson is fantastic in that – that I’d actually seen real representation. I’m surprised I hadn’t given it thought before, as I’ve always wanted to do a biopic on my taid’s (grandad’s) childhood, and his dad had a facial difference. A scaffold hit him below the eye and where he was injured turned into cancer. There was so much stigma back then, so it was hard on my taid, which breaks my heart.
“It would be great to see more actors with visible differences in roles where the story doesn’t revolve around that difference. I don’t want people to be deterred from roles, just because their condition isn’t written into the script. If someone has the talent, they should go for it. I’m so glad Crystal is doing just that. She’s already progressing the conversation and inspiring so many by not just chasing her dreams but smashing them.”
If there’s one scene that encapsulates the heart of the film, which would it be, and why?
Crystal: “The love and connection between Sadie and Ezer that shows that even if it’s approaching the end of the world, you’re never alone.”
Lona: “There’s a reflection of everything she’s longing for there, so I’d have to say the same.”
At Changing Faces, we echo the sentiments of Crystal and Lona. There is a whole community of talented actors out there with visible differences, and they should be seen, not only as ‘characters with visible differences’, but as heroes, love interests and all other roles!
