What did you want audiences to understand about Golda Meir that they may not have been aware of previously?

Golda, in Israel, was basically a myth. She was maybe a statue, but no one put her name on schools or parks. She was kind of the pariah of Israel because her name was connected to the failure of the Yom Kippur War. It was kind of easy to blame an older woman from Milwaukee who didn’t know a lot about the war regarding what had happened. The Israeli generals did not take responsibility, did not say, “It’s on us.” She said, “It’s on me. I’m resigning.” And that’s the narrative that we grew up on, that Golda was a failure and it was a horrible war, but no one spoke about it. It was kind of a hidden secret until 10 years ago when declassified documents got out from the state and the truth came out that the actual intelligence division fucked it up. So, it wasn’t only her, that was the face of this failure. When I read the script by Nicholas Morton, I felt that we could do justice to this pioneer lady who was not perfect, and who was a controversial character, but she was not the only person whom we could blame for this war. So when I read the script, this was basically 80 percent war, 20 percent Golda. I pitched my idea to do the opposite, to let’s focus on Golda and let’s have 20 percent war. I wanted to do a war movie with not a single drop of blood.

In the film, the audience isn’t shown much of battle or the frontlines but we hear battlefield audio as it is presented to Golda. What was the thinking behind depicting the war in this way?

I grew up on The Conversation with Gene Hackman and Blow Out, the Brian De Palma film where there’s a recording of a murder. I also thought of The Lives of Others, where he creates a narrative through sound. I thought about how Golda experienced the war, which was only through sound because she couldn’t go to the front. So [I thought] why don’t we bring the war into the war room rather than just spend all our money shooting war scenes with tanks? So, I got from Amnon [Reshef], who was a commander in Battalion in the south. He owned all those recordings. I showed him the movie, and I asked him if he can give these [recordings] to us. I was blown away by the number of recordings from 1973. It made me cry and I did put it in a movie. What you hear, a big part of it, is real sound from the front.

Was it a difficult decision including the real audio? I know your father fought in the war. It is one thing to portray war; it’s another thing to portray the war with real audio. What made you decide that the audio should be in the movie?

The cinema today is so blended, you have documentary and narrative together. Look at Oliver Stone’s J.F.K. He used real footage from the assassination. I thought this would add to the authenticity. I asked the veterans what they thought about it, and they said that it’s an homage to the people who really gave their lives to the war. And when we screened the film in front of 6,000 people in Jerusalem with war veterans, they just were in tears and felt it was a beautiful homage. And we also dedicated this film to people who lost their lives in the war.

Mirren’s casting as Golda has been criticized given that she is not Jewish. What do you want critics to understand about your casting choice?

When I came to the project, Helen was already cast as Golda. Gideon Meir, Golda’s grandson, said to the producers, “I look at Helen, I see my grandmother. That’s who I want to play my grandmother.” When I came [on], they told me, you got the job why don’t you meet with Helen? She came to my house in the middle of the pandemic, and we sat and talked for three hours. She told me that when she was 29, she toured [Israel] and went to the kibbutz and volunteered and fell in love with an Israeli man. They toured the country, they hitchhiked and they were staying there for three-and-a-half months. She was more than just a visitor. When I spoke to her at my house, I felt that I’m speaking to my mom. I felt that she’s someone from my tribe. I felt that she was someone who understands the bits and pieces of what it means to be Jewish. So I felt that she’d be an amazing option to play Golda, other than the fact that she’s one of the best actresses of our time in our time. I respect the discussion. I think that CODA 30 years ago would probably be cast differently. And when I see CODA with people with hearing difficulties, it makes it much more authentic. And I think that Rain Man would probably not have Dustin Hoffman today, or Dallas Buyers Club would not have Jared Leto. So I’m open to that, but I personally thought that Helen is perfect for this to play Golda, especially after we got the blessing of the family.