The Door in the Floor tells a tale of love and sexuality, of richly layered characters who experience both revivifying liberation and humbling emotional reversals of fortune. For those who came together to make the film, their aesthetic ties to it reveal the material’s very personal resonance.
Writer/director Tod Williams says, “It’s about how love is defined by its shadow – loss.”
Producer Ted Hope states that the film is about “the complexities of life.”
Actor Jeff Bridges sees it as “a wonderful combination of tragedy and comedy.”
Actress Kim Basinger sees the film as being “about people brought together for all the wrong reasons and being forced into the depths of truth.”
Author John Irving comments, “I think one of the most interesting things in storytelling is to see how people get over things; how they recover, or don’t recover, from what they lose.”
The first part of Irving’s best-selling novel A Widow for One Year has been brought to the screen through a unique creative alliance encompassing dedicated independent filmmakers, the celebrated author himself, and a committed troupe of actors. “It’s extremely gratifying,” states the author. “Tod Williams’ screenplay is the most word-for-word faithful translation to film of any of the adaptations written from my novels. But he has also made his own film. This is excellent work.”
The process by which A Widow for One Year became The Door in the Floor spanned several years. Casting director Ann Goulder first brought writer/director Tod Williams to the attention of producers Ted Hope and Anne Carey in 1998. At the time, Williams needed financial and logistical help to finish his debut feature, The Adventures of Sebastian Cole. His new acquaintances contributed an Avid editing system and space, and became friends and collaborators.
Williams also made time to read the [then-] new John Irving novel, A Widow for One Year. “I generally read his books as soon as they come out,” Williams states. “His novels are always big, intense emotional experiences. As a writer, his narrative techniques, depth of character, and blend of humor and truth represent a mark of excellence to which I aspire.
“I felt a personal connection to all three characters, who are selfless and selfish at the same time. I remembered when I was like Eddie, but I had become more like Ted. I read the first 183 pages in one sitting. I was very moved – and struck at how well it would work as a movie. Making this movie was about exorcising Ted – who is less capable of the generosity that is necessary for love – from my psyche.”
One day, Carey recalls, Williams “came in and gave me a copy of John Irving’s book. He said, ‘Would you read it and tell me if you think it’s a movie.’ I did, and I said, ‘I only think the first part is a movie.’ He felt the same way and we went and talked to Ted about it – “ “ – And I said, ‘You guys are out of your mind,’” laughs Hope.
Nonetheless, Hope and Carey contacted Irving’s agent, Bob Bookman. Carey remembers Bookman being “very encouraging. He said, ‘You know, it’s not about money for John at this point. He just really wants to know who the people are who are interested in making movies out of his material.’”
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