Circumnavigating the globe in a sailboat takes an enormous amount of courage because there are so many unknown factors that can come into play to delay or interfere with your journey and put your life in peril. Less than three hundred people have ever done it and only eighty of those have done it non-stop. 

In 2009, Australian teen Jessica Watson garnered the attention of the world when she announced that she was going to sail non-stop around the world solo. The sixteen-year-old’s story is inspirational for young and old alike and has finally been adapted for the screen. True Spirit stars Teagan Croft, Anna Paquin, Cliff Curtis, and Josh Lawson. 

Sarah Spillane has a wide array of experience, including acting in Australia. She brings her range of experience to True Spirit, infusing it with her understanding of character-driven dramas and love for true life stories. The Australian native recently spoke with us about her journey with True Spirit and as a writer/ director.

You started out as an actress. Has it influenced your filmmaking at all?

Enormously. The reason I started acting was because I knew at a very young age that I wanted to be a filmmaker and that I wanted to write and direct stories. But the only way I could get access to a set was to be an actress. I went to a local acting school and ended up landing a role on an ongoing tv show here. That allowed me access to watch the director, understand the filmmaking process, and understand how a set operates. Now, as a writer and director, that experience to me has been invaluable because I understand the demand of directing performance. I personally don’t understand how someone can direct unless you have a thorough understanding of the acting process.

Is there a different format or rhythm to filming a TV drama in Australia as opposed to the U.S.?

There is actually. I think Australia is changing now thanks companies like Netflix that are giving a voice to diverse filmmakers. In this case, Australian stories. But, in the past, Australian productions have been a little more grassroots, bare bones. Whereas, with American TV productions, you get the bells and whistles. You get a lot more toys to play with and some fairly good budgets. And access to great cast and crew. Saying that, there is fantastic cast and crew in Australia and especially now that we have organizations like Netflix and some of the big streamers that are becoming so much more global.

What was the hardest part of leaving Australia to put roots in Los Angeles?

I think this is very reflected in the film True Spirit. I find I had a somewhat parallel journey to Jessica. I actually left Sydney, Australia the same month of the same year that she started her journey. October of 2009, Jessica sailed out of Sydney harbor. That same month, I moved to Los Angeles to pursue my dream to make movies. It’s the sacrifices that you make to pursue your dream. In my case, I desperately missed my family. I definitely try to get back whenever I can. It can be lonely and isolating and that’s the feeling I tried to pour into this movie.

How did you get attached to True Spirit?

Jessica’s management approached me. It was several years after she returned. Her manager, Andrew Fraser, is one of the producers of the movie. He’d seen my last Australian film, Around the Block, and approached me to come on board to write and direct True Spirit. To be honest, it wasn’t a slam dunk for me. It was quite intimidating, the thought of telling a story about a teenage girl, alone, on the ocean for two-hundred and ten days. It was very challenging for me as a filmmaker. I wondered how I would make the story, about essentially one person on a boat, captivating. The more I spent time with Jessica and reflected on her journey, and dove into the meaning behind the journey as well and how that impacted not only her but engaged people around the world, the more obvious it was for me to see the importance in this story.

So, you collaborated on the screenplay?

I did, but it was quite fractured, though. There’s a fantastic Australian writer, Cathy Randall, who, before I was involved, had written an adaptation of Jessica’s book. That was a terrific foundation for me to build from. Then, once I came on board, I wanted to bring the family more front and center in the story to create more emotional stakes and to elevate the more spiritual and philosophical aspects of her journey. I wrote several drafts. I wanted to experience the same isolation that Jessica did but I didn’t trust myself on a boat by myself. Instead of that, I rented a shack in the California desert so I could be by myself and experience that sense of isolation. It was throughout that process that I wrote the draft that Netflix picked up. It allowed me to really focus on themes of family and nature and what we end up seeing on screen now.

You started out doing short films, right?

I did. I have a background in short films, documentaries, and commercials. I kind of dipped my finger in everything as I worked towards doing feature films.

How do you find your writing process differs now?

Maybe it’s because I have an acting background, but I’m quite “method” in my writing as well in the sense that I just immerse myself in the world of whatever the subject matter is. So in this case, it was sailing. I find that isolation process very valuable as well. Although it was a little bit different for True Spirit because I wanted to experience the isolation for thematic reasons as well as being productive and actually writing the script.

What were some of the challenges of shooting on the ocean?

There were a number of challenges. Even though most of the story takes place at sea, we actually only shot for a couple of days on the open ocean. For many reasons, but first and foremost, most of the crew and our lead actress, Teagan Croft, got very sea sick. The few times we did shoot on the open ocean, it was myself and our fantastic DP Danny Ruhlmann who were the only ones that didn’t get sea sick. We shot pretty much the entire coverage that we got on the open ocean as point of view stuff. Beyond that, we shot some sequences in a water tank at the Village Road Show Studios. We also built these incredible rigs, which were basically a replica of the boat on a big gimbal, which was kind of like a ride in a theme park.

How do you function under pressure?

There are so many parallels to Jessica’s story. In my case, making this movie was a very ambitious project and not a cheap one. It required a lot of preparation. When it comes to being in a high pressure situation, I try to take the attitude that you can only control things that are within your reach. What you can’t control, there’s no point stressing about. Just be prepared with a Plan B.

Do you think there are any particular genres that you’re attracted to?

I’m definitely attracted to inspirational true stories. I find it a satisfying challenge to figure out adaptations. Whether it’s based on a novel or someone’s accomplishment or life story, there’s a certain way that certain filmmakers view the world. It’s like we view life in a three-act structure. I love the challenge of adapting someone’s life story into that cinematic space. This movie has introduced me to a lot more action and visual effects than I have done in the past. I’m somewhat addicted to that now. The next movie I’m doing is about a female firefighter. I get to work with the elements on that one as well. I’m definitely moving into that realm.

When you tackle a screenplay for a true story, what’s your first focus? Character? Plot? Theme?

My focus is character and transformation. How that character transforms throughout the story. Like all good stories, it’s not about the destination, it’s about the journey. In the case of True Spirit, Jessica set out with a goal. She was very eager to leave her family to conquer nature. But along the way, she gains a greater understanding and appreciation of nature and learns to become one with it. She gains a greater appreciation of her family and desires to be back with them. It’s figuring out those internal vs external objectives and how they parallel each other that I like.

Did you speak to Jessica a lot while doing the project?

I did. Jessica and I have become very close throughout this process. I’m based in L.A., but I traveled to Australia several times to spend time with her. We traveled together within Australia to meet her family. Because relationships and characters are so important to me, I wanted to spend as much time with her family as possible.

What lessons did you learn from this production that you’ll take on to the next?

I’m a secret philosophy geek. I find the writing process cathartic. I think what we’re talking about with nature and that there are some things that you just can’t control. I think that’s a very valuable lesson for most directors.

Do you prefer directing over writing or are they equal for you?

They’re equal for me. I really appreciate the solace of writing. I love pouring so much thought and emotion into it in a way that’s uninterrupted. Once I’ve been writing for too long, though, I start to get a bit stir crazy and am ready to get on a set and start interacting with people.

How do you delegate on set?

I’ve been told that I’m surprisingly quiet on set. I over prepare probably. It’s like a Plan B for me and allows me to be more organic on set and create in the moment.

You said you knew at a young age that you wanted to be a filmmaker. How did you know?

I saw E.T. My dad is a professor in philosophy and he said to me, “Choose what you love best in the world, make that your job, and you’ll never have to work a day in your life.” I watched E.T. when I was six-years-old and I was blown away. Spielberg to this day is just a god to me.

What do you think is the primary message of True Spirit?

Once you find your truth or your dream, work at it. There are going to be sacrifices along the way, but you can overcome the obstacles. Stick with it, be open to the process itself and what you learn along the way. Despite the naysayers, keep going. Keep moving forward.