As the women became increasingly involved in the strike, they questioned more and more their traditional supportive role. This provoked many heated discussions among the women and obviously not without upsetting husband, family, union - and company... This situation forced us as filmmakers to find a cinematic approach that could capture this reality. It is difficult (impossible) to take 'pretty pictures' under these conditions: kitchens are small and don't well suit the movements of a film crew; children scream and cry in the microphone, making it hard to hear...we often packed up our equipment and decided not to shoot because we felt it would be a betrayal of the trust we had established with the women. You may perhaps be disappointed not to witness a family feud...So we shot a film that doesn't in fact show 'everything.' hoping that what is not obvious comes from between the lines, between each frame of the film.
-Quote by the Director: -"It took us a very long time and a lot of discussions in the women's kitchens before we got some of these things on film, because when you're talking about making a film about women's personal lives and some of the discussions that go on in kitchens, then you have to spend a long time listening before you can actually build a sort of trust and rapport that will bring out those kinds of things that you want in the film." (by Sophie Bissonnette, interview in 'Jump Cut 26' - December 1981).