The underlying suggestion in all of this, of course, is that she has come to sympathise with the men’s movement and jettisoned a lot of received feminist wisdom.
Jaye is concerned about funding the film with angel investors, who she says often want creative control: “We weren’t finding executive producers who wanted to take a balanced approach, we found people who wanted to make a feminist film.”
The second option was funding via grants. Jaye says, “I started to see the bias towards women’s films and against men’s. There are no categories for men’s films though there are several for women and minorities. I submitted the film to human rights categories, and was rejected by all of them.”
According to Jaye, her sincerely-held opinions on the men’s rights movement have made her movie almost unfundable and support has dried up: “Films that support one side and act as propaganda do better than those that try to have an honest look. I won’t be getting support from feminists. They want a hit piece and I won’t do that. ”
Jaye also ran into stumbling blocks during production. “I started to invite feminists to be interviewed for the film, making up about 25 per cent of the interviews scheduled,” she explains. “We had a popular feminist author who was scheduled to be in the film. After we drove down to Los Angeles, she cancelled the night before claiming she felt ‘unsafe.’”
Jaye also had a paid animator drop out of the project because he didn’t want to be part of a project that sympathised with the men’s rights movement.
The most telling evidence that she plans to produce a balanced documentary using facts to show both sides of the argument is her experience with interns: “I’ve also had interns, including a gender studies major. One girl in particular had a lot of crying attacks and emotional experiences. She claimed everything I was showing her was triggering her.”