Rachel Feldman on her film about the inspirational Lilly Ledbetter

In 2008, Lilly Ledbetter, a blonde haired grandma from Alabama, stepped up to the podium at the DNC during the year of the presidential election. She talked about equity and her fight for equal pay during her years at Goodyear Tire. Filmmaker Rachel Feldman was immediately drawn to this figure upon first glance. She could relate to the fight Lilly took on in part because of all the things that Rachel herself had gone through as a female filmmaker. As soon as she saw Lilly go up to that podium, Rachel knew she would make a movie on her.

After Lilly’s book Grace and Grit came out, Rachel sought to acquire the film rights, and was thrilled when Lilly gave them to her. Seventeen years after that day in history when Lilly went up to the podium, the movie “Lilly” is here about her life and fight. It stars Patricia Clarkson in a portrayal of Lilly that received the John Cassavetes Award from the Denver Film Festival. And there’s no question that Lilly’s story is timelier than ever. As we navigate our way through some of the worst times in our nation’s politics, this is a film we can hold on to for hope.

“Lilly” is coming to digital everywhere you rent or buy movies on Tuesday, July 10th. You can pre-order it today on Apple TV and Fandango.

I thought we could start by talking about when you first discovered Lilly’s story and what made you want to bring it to the screen.

I was watching the 2008 DNC on television like everyone else. I’m almost embarrassed to admit that I didn’t know who Lilly Ledbetter was at the time. But then this bleach-blonde, beautiful woman with a thick Southern drawl—an Alabama grandma, as she called herself—started speaking about gender equity and fair pay in front of millions of people, and she did it with absolute confidence and conviction.

Something happened to me physically in that moment—you know those rare, instinctual reactions? My gut just exploded with excitement. I grabbed my husband’s shoulder and said, “This is a movie!” I don’t know how I knew—it was visceral.

There was something about how she spoke. I’m a Yankee, so that Southern accent had a cinematic quality to me. I thought a film could made about her that was akin to “Coal Miner’s Daughter.” The very next day, I reached out to her. She told me she was in the middle of writing a book with Lanier Isom, which eventually became Grace and Grit. She wasn’t ready to option the rights then, since plenty of studios were already circling, but she told me to come back once the book was done.

So in 2012, I went back. I spoke with her and her attorney, Jon Goldfarb—who, fun fact, is also portrayed in the movie. We hit it off right away. Jon is not just a brilliant civil rights attorney, he also went to film school. He loved talking with filmmakers. And even though there were other studios and prominent producers pursuing the project, Jon nudged Lilly in my direction because he liked that there was a filmmaker—an actual person—driving the vision, not a company.

I love that. I read your director’s statement, and I can see how your own experience intersects with hers. Can you talk about how your story overlaps with Lilly’s?

Lilly and I talked a lot about this—whether you’re a supervisor at a tire factory in Alabama or a film director in Hollywood, gender discrimination is the same when you’re unable to thrive the way you should.

In Hollywood, discrimination shows up as exclusion. We have union rules that ensure we’re paid equally, at least on paper. If you direct an episode of TV, your rate is the same as a man’s. But the real question is: Who gets the job? That’s where the disparity lies—opportunity.

And the types of discrimination Lilly endured were multi-layered—sexual harassment, physical intimidation, ageism, pay inequity. There were so many obstacles she faced.

I grew up in a socially conscious household and was aware of justice issues from a young age. But gender equity? That didn’t hit me until I graduated with an MFA, had award-winning short films—and then couldn’t get hired for over a decade. Neither could any of the other female filmmakers I knew.

I’m not typically drawn to real-life stories. I usually write and direct genre. But this was different. It was the perfect intersection of personal, political, and professional for me. It felt deeply personal, and I knew that if anyone was going to tell this story right, it had to be me.

And I love how you’ve surrounded yourself with strong women—from Sarah Lawrence to your collaborators. It’s inspiring.

The spark for the project was mine and I’ve carried it for a long time. But I didn’t do it alone. My team of producers, especially Allyn Stewart and Jyoti Sarda, and our investors! They’re mostly older women. I had this amazing network of powerful women lifting me and Lilly up. They really wanted her story told, and that made all the difference.

Patricia Clarkson was phenomenal. 

Patricia Clarkson saying yes was extraordinary. I’ve been categorized as a television director, and unfortunately, that title often carries a negative connotation, even though working successfully in television for three decades takes serious skill.

There’s a big difference in how the industry values TV versus film directors, but the skill set is the same. When Patricia agreed to work with a so-called “unknown,” that was an act of quiet activism. She doesn’t make decisions based on status—she trusts her gut.

She knew who Lilly was, and it was important for her to play that role. When we met, we instantly clicked, and she loved the script. I’m so grateful to her, and to her agents at CAA—Chris Andrews and Kevin Huvane—who gave her the space to say yes. It was all a bit of serendipity, with a lot of heart behind it.

I loved the use of music in the film—can you talk about the editing and music choices?

While I wanted a predominantly female crew in Atlanta, the local market and scheduling limitations made that hard. But I’m proud that all of our post-production and music was 100% women-led.

Our music supervisor, Frankie Pine—who also worked on the series Nashville—was a huge asset. She’s so connected to the Nashville music scene. I reached out to the multi–Grammy Award-winning songwriter Liz Rose and asked if she’d write a song for our end credits. She wrote “I Will Not Take It Anymore” with her partner Lauren McLamb. It’s performed by Cassidy Daniels, an incredible young singer who just landed a record deal and is on her way to being a break-out star.

All the music—whether chosen by Frankie, our editor Joan Sobel, or written for the film—is by women. There’s actually a LILLY Spotify playlist available if anyone wants to check it out.

The film has already had its festival run and theatrical release—what kind of response have you seen from audiences?

It’s been incredibly emotional. We screened at 20–25 festivals, starting with The Hamptons International Film Festival. That was the first time we saw the film with a full audience—nearly 500 people. They laughed, cried, cheered, and gave us a standing ovation. It was unforgettable.

When you’re in the editing room, you never know what you really have. But it became clear this film resonates deeply with people. Audiences come up to us afterward, often in tears, hugging us.

And I’ve heard for years, “Now is the right moment for this movie.” But now really is. People are hungry for stories that are hopeful and deeply human. Stories that inspire. And Lilly’s story reminds us that better times are possible—and that real change is made by people like her. That her kind of radical, tenacious resistance is what we need right now.

I almost forgot—what inspired you to include RBG in the film? That decision added so much depth to the story and character.

It wasn’t my idea initially—and I was hesitant at first. I’m a narrative filmmaker, not a documentarian. I was afraid it might make the film feel like a documentary.

But my brilliant editor Joan Sobel and her fantastic assistant, Joey Amron, suggested it. I said, “Go ahead and try.” Once we saw it cut in—the archival clips with Justice Ginsburg speaking directly to the legal issues in the film—it was undeniably powerful. It added so much weight and clarity to the story. I immediately said, “You were right. Let’s do it.”

It’s such a good reminder that the system can work. And it’s so hopeful.

Exactly. Half the people in this country care deeply about these issues—so, by extension, half of Congress does too. This film is very important to many people who work for these issues every single day of their lives. We’re actually screening the film in Washington, D.C., on June 3rd for members of Congress, which I’m so excited about.

Seeing people like Hillary Clinton and Barack Obama in the film really brought everything to life.

Secretary Clinton actually attended our premiere. She gave opening remarks, sat through the film, and even came to the party afterward. She seemed genuinely touched by the movie, and loved Lilly. Secretary Clinton was so warm and generous—it was a real highlight for all of us.

What do you hope audiences take away from the film—especially online viewers?

First and foremost, I hope people enjoy it. If you love films like “Erin Brockovich,” “Norma Rae,” “Coal Miner’s Daughter,” “Silkwood,” or “North Country”—this is in that same spirit.

And I hope people remember Lilly. Her legacy matters. She saw the finished film, and she loved it, which meant the world to us.

I didn’t make this to be political. I’m not a politician—I’m a filmmaker. What drew me in was her personal journey. I love stories about transformation, especially when the woman at the center is transformed by seeking justice. Choice. Lilly wanted a life of purpose—and she found it.

We can all find purpose, no matter our circumstances. Standing up for others, speaking out against injustice—those are deeply meaningful acts. I hope that’s what audiences take away: that we each have the power to make the world better, in ways big or small, for ourselves, our families, and our communities.

It’s our responsibility to keep striving for that better world.