The Microlending Film Project (film title TBD) was conceived as a passion project by Futures Trader turned Director/Producer Rachel Cook after she read a Nicholas Kristof op-ed in The New York Times late one night at a Chicago trading desk. The article was about how empowering women in the developing world with tools like microfinance can bring about positive, sustainable change (Saving the World's Women).
The project has been undertaken with the best interests of poor women at heart, as the film seeks to show a balanced, comprehensive picture of microfinance through the lens of the personal stories of the women it impacts. The issue of transparency and its paramount importance to the industry is a key focus, as is showcasing best-practices and suggesting how microfinance can most effectively be used as one development tool in a larger box both domestically and abroad, specifically in terms of the opportunities mobile banking and crowdsourcing promise.
The filmmaking crew is also actively seeking out investors at multiple levels. If you have an interest in learning more about investment opportunities in the film, please contact Rachel Cook at rachel at microlendingfilm dot com.
Anyways, here comes the interview:
Christopher Carr: How did you come to where you are now? Describe your life after graduating from college. How did you choose your current path? Where do you see yourself going after this?
Rachel Cook: I knew I wanted to do something involving writing and film, and after studying for a semester in Los Angeles junior year at Duke I knew I hated that "city". I'd heard about Second City/iO and all of the comedy writers and performers it had produced, people like Bill Murray, Chris Farley and Tina Fey, and studying there seemed like it provided more of a sort of clear path than would toiling in obscurity somewhere else, so I moved to Chicago. While there, I picked up an equities trading position to pay the bills, and I took a ton of improv classes and put on a few shows.
While it was gratifying to put on a show and have 30 people come, or even say, 5, obviously film can reach a much larger audience, so I think that notion was percolating in the back of my mind through the Second City period. Meanwhile, a few years in to my Chicago tenure, I started trading Futures on the European shift, which was in the middle of the night of course, Chicago time.
The trading environment was so surprisingly sexist that it really affected me. I worked at four firms total - three in Chicago and one in Manhattan - and I was always the only girl trader, or one of a few. It was definitely one of the last bastions of old school sexism and it was infuriating and upsetting. So I guess that's why, one night in September 2009 when I came across a Kristof op-ed in the NYT about the positive impact of microfinance globally, particularly on poor women, that I immediately felt compelled to text my sister and tell her that I was going to make a film on just this topic. Microfinance appealed to both my feminist sensibilities, and to the interest in good investment I'd cultivated while on the trading desk.
From there, it was just a matter of figuring out how the hell to make a global feature film, because I definitely didn't know how to do that, and we ended up shooting on four continents. In hindsight, I'm glad that I was arrogant and ignorant enough about the process to take all of this on; and it's grown from here. I quit the trading job I was working in Manhattan in November of 2010 and started working on the film full time, and we just wrapped principal photography this past week in Detroit, so we'll be heavily editing from here on out.
Going forward, I plan to collaborate with Duke and the iHub, a shared start-up space in Nairobi that we discovered when filming, to launch a social gaming application that facilitates mobile-to-mobile microlending across continents. It's in its very early stages, but we have high hopes.