Writer Mario Correa's real-life story of corporate malfeasance is about a single hero, yes, but also about not waiting for heroes to fight systems of power
I jumped at the chance to work on “Dark Waters” for one simple reason: Todd Haynes. And I won’t lie, everything else about the project scared me to death.
Based on Nathaniel Rich’s New York Times Magazine cover story, “The Lawyer Who Became DuPont’s Worst Nightmare,” “Dark Waters” centers on Rob Bilott, a corporate attorney for the chemical industry who discovers that DuPont has been contaminating his childhood community of Parkersburg, W.Va . Rob embarks on a decades-long legal battle against not only DuPont, but the scientific, legal and governmental establishments the company had long held captive.
At our very first meeting, Todd and I shared how much we loved the great whistleblower films of the ‘70s and ‘80s — “All the President’s Men,” “The China Syndrome,” “Silkwood.” In the story of Rob Bilott, we had a chance to pay homage to a great American genre with a story that spoke urgently totime. Here was a corporate defense attorney — a true believer in “the system” — suddenly ensnared in the mousetrap he’d helped build. Fighting his way out would cost him everything.
The final script of “Dark Waters” tells an intensely human story, a deeply personal one. And for that I am deeply indebted to Rob and his wife, Sarah. Through months of incredibly honest and lengthy conversations, they invited me into the most personal corners of their lives. The 18 years depicted in the film were a time of immense pain for the Bilotts, yet not once did they hesitate to “go there.
And in fact we did go there, and not only with the Bilotts. Rob brought Todd and me to Parkersburg to spend time with the Tennants and the Kigers, the families whose courage to confront DuPont — which had held their community captive for generations — gave Rob the opening he needed to crack the maze.the maze remains. Cracked, but standing. There are no happy endings. But there
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