(soft lively music) - Production needs and disability needs are actually very similar and disability rights are human rights, so access needs are film needs, it all ties in.

So that's something that I hope to continue to spread by leading accessible, disability-friendly productions and spreading the good word to other filmmakers to also consider this and do it 'cause it's not that hard.

All it takes is a couple extra seconds of thought.

Even if someone who's disabled isn't in the room, just maybe thinking about the blind person who isn't there or the deaf person who isn't there.

It's kind of like a if you build it, they will come type scenario where you have to anticipate the needs.

They're not gonna go out and vocalize themselves.

It's really an onus on the individual who's making films and programming films to think about these things.

We were always ready to roll working and accommodating Elsa.

And you know, even down to the lighting design actually.

She had told me in the pre-interview that her eyes kind of work like a broken camera aperture.

Her words.

Where if she walks into a room that's too dark, her eyes will like shut down and it can take a long time to readjust.

So when we filmed her fencing scenes, 'cause she fences, we actually uplit all of the walls in like a red and blue stylistic, but still, you know, not like a super down lit, low key kind of studio setup.

And she was able to walk onto that set and, you know, perform her fencing.

I think that's probably the thing I'm most proud of of the production of the project is how much it thoughtfully incorporated accessibility into the production design throughout from beginning to end.