What’s most exciting about the reception for The Librarians?

I’m humbled by the overwhelming love and camaraderie from librarians across the globe. The film is hitting a nerve across the political spectrum, too. People are getting it.

How has the conversation on censorship changed since you started this project three years ago?

We’ve seen more draconian legislation creeping in, but the film is lifting up our brave librarians. More people are starting to say, wait a second, this is not about pronouns or indoctrination. This is about representation and about trained librarians calling out censorship.

How will global distribution amplify your message?

The Librarians is a global story and not a myopic, singular American phenomenon. We’ve heard from our friends in Canada, the U.K., and Europe, and they know we’re interconnected. We should coin “Librarians Without Borders.” The film hopes to grow the movement.

What are you working on next?

There are shrinking distribution channels for films that have social impact, and the attack on public broadcasting influences what can get funded. It’s a conundrum: How do we not succumb to a chilling effect? What did artists do under McCarthyism or the Cultural Revolution when their work was perceived as threatening to a political regime? This film made me more excited about working archivally and in metaphor. My desire is to be part of the resistance speaking out about this unbelievable moment we’re living in.

Return to main feature.