Ask a Filmmaker: An Unfinished Dream

My thesis project, Untitled DREAM Act Film, is transitioning from casual pre-production to real pre-production. What does that mean? It means that it’s time to stop playing around and start working on this film. One way that I thought of to do this was to talk to someone who has done or is doing what I’m about to set out to do.

Margarita Reyes is a University of California Los Angeles student studying Chicano Studies. She’s collaborating with UCLA film minor, Andrea Ortega, on An Unfinished Dream, a social justice documentary following the lives of undocumented students in the California university system. She was kind enough to answer some of my questions.

MC – What drew you to the topic of the DREAM Act?

MR – Last year I met “B”, who, like myself, was a UCLA transfer student.
Several weeks into my first classes with her, I found out “B” was an
undocumented student and was not going to be able to pay for her tuition fees.
“B” did not choose to come to the United States as a 4-year-old. That decision was made for her.

“B” and I have shared our family histories and found that there
were many similarities. The only difference being that I was born in the United
States, and she was not. I don’t feel like she should be treated as though
she is invisible because of her immigration status. She is one of the kindest,
most loyal, and hard working people I know. She is an academic overachiever, a volunteer and she is currently organizing other undocumented workers to form unions in her community.

I am proud to call her my friend and she has inspired me to produce this
documentary in order to tell her story.

AO – The DREAM students, as they have come to be called, attend school like other students but have to overcome an extraordinary amount of obstacles to accomplish their higher education. While the CA DREAM Act benefits a student whether he/she is a citizen or undocumented, the undocumented students show their commitment for education as they endure commuting for 2-3 hrs on bus to get to school, working three jobs to pay for college and on top of that not enjoying benefits that other students receive such as studying abroad, doing research or having a paid internship.

As a Mexican-American first generation female of a low-income family, I already struggle to pay for my university, but to see the DREAM students persevere despite not getting that financial aid that I need to pay for college, is an admirable quality when on top of that they are able to find a manner in which to advocate for themselves. Most of them are the valedictorians, class presidents and top students coming from their high schools who have so much potential and talent to offer our society, yet there is currently no outlet, because after all the hard work they place into acquiring their degrees they are still not allowed to give back to the community as they wish to.

I have found inspirations through students that with so much less than me have
made it to the university and are fighting for others who should not have to go
through what they went through. They have strengthened my resolve to
help those less fortunate and shown me how privileged I have been throughout my
life.

MC – Why did you chose documentary to explore the topic?

MR – We chose documentary because we wanted to show the human face of the issue.
These are human beings, like you and I, who are experiencing an apartheid
situation. They should not be treated as second-class citizens. They are
amazing, overachieving, hard-working, upstanding citizens of the world who only
seek to contribute to the country they call home.

AO – A documentary can give a more organic perspective and it humanizes the issue by showing you reality. This documentary is being made with care so that you can see the true identity of undocumented students and recognize them as the neighbors and friends you have always known as opposed to the stereotyped representation you may hear or read about in newspapers and such. There are just so many layers and angles in the lives of these students that only a documentary can capture.

We want the audience to truly understand and see how dedicated these students are to getting their higher education and just how hard they work to accomplish it. Truly it is the students creating the story and the documentary the tool to which the rest of the world is able to engage in that story. That is what is so great about documentaries is their ability to tell reality to a mass audience in an enticing manner.

MC – How have you dealt with any legal obstacles that have risen around the
status of the characters in your film?

MR – Here’s the catch, when a student goes to a California university or college
they sign a legal document, an affidavit, which says they will adjust their
status as soon as they are eligible. Most of our students are in the process of
adjusting their legal status. They are reporting to immigration; they are going
to court and spending thousands to become legal in this country.

AO – We have taken the utmost care with protecting the students as we wanted them to feel comfortable to open up, despite having to be underground or invisible most of the time because of their status.

MC – Did you have difficulty gaining access to the subjects of your film?

MR – Yes, it was a long and sensitive process. We have grown to love them. They
are not just subjects to us. They are a part of our family. Being such a
sensitive issue with serious repercussions for them, I know that they trust us
with their stories. We will not let them down or allow anyone to hurt them in
any way.

AO – We are dealing with a delicate issue and I started getting involved in the issue only a little before we started the documentary. The truth is that since they are very aware of their rights and risks we did have to show that we understood the issue and had no intention of misinterpreting the material they gave us. Since then, however, I have become an advocate for their situation myself because through filming this documentary I learned of the importance and significance of this cause.

MC – What is your target audience?

MR – Our target demographic is 14-35 years of age. We realize the importance of
teaching our youth that there are others like themselves who are struggling to
attain higher education. Their obstacles far surpass what the “normal”
American student in high school and college experiences.

We hope to help the momentum of the Federal Dream Act campaign for 2009. So
please go to www.AnUnfinishedDream.com for production updates and/or you can go
to DreamACTivist.org for constant news and events in regard to Dream Act 2009.

Bigger, Stronger, Faster

In honor of the the end of the NFL season and the beginning of February, I want to share some video that I captured at True/False last year. Some of you may have heard me raving about a film called Bigger, Stronger, Faster, about America’s obsession with steroids. Well, I was going through some footage from my trip to the festival and it turns out that I shot a little bit of the intro and Q & A from the screening.


Bigger, Stronger, Faster intro True/False from Viva Documentary on Vimeo.

It was interesting to watch this clip now that a year has passed and I can find the DVD at Blockbuster, the public library or online with Netflix. It was great to see a young guy without a bunch of films under his belt be treated so well because he was willing to share such a personal story with the world. It didn’t hurt that the film made some poignant arguments about the place that steroids holds in American society but I think it was director Chris Bell’s willingness to put his story and his family’s story on the line that made this film so so compelling.

Here is another clip from the Q & A. If you haven’t seen the film yet, it might be nice to check it out before opening this next clip.


Q+A from True/False 2008 – Bigger, Stronger, Faster from Viva Documentary on Vimeo.

One the things that grabs me in this film is the familiarity of the opening. He starts off in a very personal / experimental form of showing us home videos with first person voice over but shifts to archive from our collective American memory to show how he has grown along side us. His commentary over moments in sports history, pop movie icons and recent political scandals puts us into his shoes for events that we witnessed ourselves so that we can see sports and entertainment from the perspective of a wide-eyed kid with dream of being a pro wrestler.

When we meet the present day Chris Bell, it’s understood that he is bitter about the world of professional sports but it’s intriguing that he still has a love for sports. I think that’s the ultimate reason that we’re willing to use him and his family as a mirror for our culture’s relationship with steroids. A father that sets a good example but let’s you live your own life, a mother who loves unconditionally and three brothers with completely different ways of coping with steroids in their lives.

We’re at that point where we need to come to terms with how we really feel about steroid use in the entertainment industry and in professional sports. It’s true that letting athletes use performance enhancing drugs would set a bad example for our youth but shouldn’t we hold actors and models to the same standards? Isn’t setting unrealistic expectations just as dangerous?

It isn’t the athletes as much as it’s the audience. Imagine how many players would make it through an NFL season without taking something for pain or weight loss. Would you pay for season tickets if your favorite player was allowed to sit out because of back pain or arthritis? Our expectations are unnatural so how can we expect them to be achieved naturally?

I, for one, would still buy a ticket knowing that all those things that society deems unethical are just par for the course. It might make me a bad person but know that I won’t be the only one there.

The Scoop on Viva Doc Small Groups

VivaDocsters, doc lovers, filmmakers, Columbia students, staff, faculty and alumni:
VivaDoc is thrilled to announce the formation of Small Groups for people interested in making, screening, and talking about docs within the context of small groups. Whether you’re looking for support in completing your own project, want to collaborate on making a group doc, or are looking to watch docs with other doc lovers, we probably have a group for you!

Production Groups (4-5 members)

Finishing Group: This group is designed for filmmakers with principal photography completed on a documentary. Group will focus on the post-production process, providing feedback with cuts, and looking at press packets, festivals and distribution.

Idea Generation: Want to talk about ideas for documentaries? This group will focus on brainstorming and pre-production. The group could continue into the development stage with treatments, outlines, and so forth, but could also just be an idea-generatin’ good time.

The Three Ps (Pre-Pro/Production/Post): This group is for anyone with a documentary that they are working on in any stage. It will focus on looking at members’ work (written and moving) and encouraging one another through feedback. Members may bring in ideas, loglines, proposals, treatments, budgets, scripts, rushes, rough cuts, i.e., the whole works!

Let’s Make A Doc! This group will take on the challenge of making a doc together. If you’re not currently enrolled in a doc class, or are looking to collaborate on a new project, this could be the group for you!

Screening Groups (4-10 members)

Short Docs Screening Group: This is a chance to watch one, two, or several short documentaries with a small group of people and enjoy discussion of the films. Members may be willing to do a little research on a film and present it, or the filmmaker, to the group. Short Docs could include films in the in-between 60 min. length.

Feature Docs Screening Group: Here is an opportunity to screen and discuss longer works with a group of doc lovers: Bring a list of docs you’d love to see to the first meeting and brainstorm your ideal screening list! Feature Docs could include films in the in-between 60 min. length.

Obscure Docs Screening Group: Do you love the rarest, weirdest, least-heard-of docs ever? This is the screening group for you. Be prepared for strangeness.

Note: Depending on interest, screening groups may be consolidated. If you have any ideas or suggestions, please let us know!

How, When, Where?

Email VivaDoc at vivadocumentary@gmail.com with the group(s) you are interested in, your Spring schedule (let us know the blocks when you can’t meet), and your name, phone number and preferred email address. We will connect you with your group and send guidelines for getting started!

Small groups will run in conjunction with the Spring Semester (beginning in mid-January) and will meet every two weeks, unless the group decides otherwise. Current and former Columbia students, staff and faculty are welcome to join.

How did your registration process go? Doc students weigh in

Ah, registration for classes next semester. Columbia students’ experiences range from fun to stressful, and that’s when Oasis is up and working properly, which isn’t often. Here are what some docsters had to say about their experience this year:

Viva Docster Mary H. said: “I think my registration process went well… I can’t really say since as a second semester Grad student we don’t have any choices on what classes we want to take. We are locked in to all are classes for the first year and a half of school. So if anything my registration process was flawless and stress free!”

Viva Doctster Michael W. said: “Overall, registration went well. I enrolled in Doc 2 and Producing the doc. I wish Visualizing the Doc was offered in the Spring. I think that class is probably better taken before rather than after Doc 2. Also, I wish History of the Doc wasn’t in between Doc 2 and Producing the Doc on Wednesday. If I signed up for all three I think my brain would be so fried by the end of the day I wouldn’t be getting my money’s worth. ”

Viva Docster Adora W-E. said: “It went pretty badly. Since the school enacted this new ‘pay all before you register’ policy, I’ve struggled to register in time. My loan check bounced because my bank didn’t tell me I needed two signatures. I had to get a legal copy of the check, send it to my parents, get them to sign it, and then send it back. It took a week for the check to clear, and so by the time I registered for classes, way after my sign-up date, I lost spots in a bunch of classes. Ugh!”

Viva Docster Karl G. said: “My registration experience this semester was super easy. I had a hold on my account but I got it removed well before my registration time because I checked it early. I also picked out a rough schedule before my registration time. By doing so I was able to get a seat in all the classes that I wanted! Amazing how a little pre-planning can make things so much easier.”

Did you have trouble getting into the documentary classes you wanted to sign up for? Did everything go flawlessly? Please feel free to leave a comment on how your documentary registration process went for spring 2009 classes.

Tip of the Day 13

Sometimes the best research comes not from a book or news article but instead from an off-camera background interview.

Spring 2009 Documentary Course List

Columbia has just updated its course catalog to include classes offered in the spring 2009 semester. A bunch of documentary classes are among them, and spring is shaping up to be a great time to do documentary at Columbia. Here are the documentary classes offered:

24-1800 Documentary and Social Change (8 sections, prerequisite: Writing & Rhetoric I)
This course is an intensive and comprehensive introduction to the diverse and passionate world of documentary filmmaking and its relationship to society. Classes will consist of lectures, screenings, in-class discussions, debates, and analyses, as well as written and other assignments. Students are encouraged to explore their individual creative “voice” and to use this knowledge to stimulate original work in their areas of interest.

24-2801 Documentary I (5 sections, prerequisites: Screenwriting I, Production I, History of Cinema, Aesthetics of Cinema)
This course introduces and explores a wide variety of documentary styles and techniques. Screenings of classic and innovative films help develop a critical language that is applied by students to their own work. Technical tutorials in camera and audio equipment as well as non-linear editing are incorporated. Students will complete a short, biographical video.

24-3801 Documentary II (1 section, prerequisite: Documentary I)
Course uses hands-on projects to explore each step in the process of documentary filmmaking, from idea to final edit. Documentary styles, interview techniques, and non-fiction storytelling are inherent in the course, as well as technical considerations such as lighting and camera work. Students will complete a 15-minute film.

24-4852 Documentary III (1 section, prerequisite: Documentary II)
The course catalog for this class reads: “This course is offered to advanced documentary students and builds on the foundations developed in Documentary II. Students are expected to bring at least one developed proposal and several optional ideas for a conceptually advanced 15-20 minute film to be produced during the semester.” Doc III during the Spring Semester of 2009 will continue and finish the films started in the Fall Semester of 2008. Although several of the students in this Spring class were in the Fall section, those who weren’t able to be in the Fall section of Doc III are encouraged to sign up for this class.

24-4810 Producing the Documentary (1 section, prerequisite: Documentary I)
This advanced production course explores the relationship between the filmmaker and issues of social, personal, and political importance. It is aimed at advanced students who feel strongly about matters of wide-reaching social relevance and who wish to use the documentary vehicle as a tool for investigation and advocacy. The course emphasizes the importance of research and project planning, as well as issues of access and ethics in the filmmaker-subject relationship. With instructor’s permission, it may be open to students from other disciplines/departments.

24-4403 Editing the Documentary (1 section, prerequisites: Screenwriting I, History of Cinema, Aesthetics of Cinema, Editing I)
This course provides documentary editing experience in three areas: developing information-handling systems to deal with large amounts of material, acquiring the means to apply ideas about that material in order to develop comprehensive authorial approach, and using digital, non-linear, off-line video editing equipment for each student to edit his or her own interpretation from a variety of documentary materials.

24-2543 History of the Documentary (1 section, prerequisites: History of Cinema, Aesthetics of Cinema)
Course explores the variety of styles and concerns that shape documentaries. Content covers the first outdoor films made at the beginning of film history, the lyrical documentaries of Robert Flaherty, and the institutional documentaries inspired by John Grierson. Course also examines the broad range of developments of the post-World War II era, including the television documentary, cinema verite movement, collective and personal documentaries of anti-war and women’s movements, the role and impact of video in the ’80s and ’90s, and recent trend to incorporate narrative techniques.

24-3820 Topics in Documentary: Natural History Film (1 section, prerequisite: Documentary I)
This production course for advanced documentary students will study and engage in various subgenres of documentary filmmaking. Such past topics have included visualizing the documentary, the nature film documentary, and cinema verite. Students may repeat this course as topics change.

24-1810 Topics in Documentary: The Music Documentary (1 section, prerequisite: Writing & Rhetoric I)
This non-production, rotating topics course looks at examples of documentary filmmaking. Such past topics have included cross-cultural filmmaking, the music documentary, and indigenous filmmaking. Students may repeat this course as topics change.

24-1810 Topics in Documentary: The Ethnographic Film (1 section, prerequisite: Writing & Rhetoric I)
This non-production, rotating topics course looks at examples of documentary filmmaking. Such past topics have included cross-cultural filmmaking, the music documentary, and indigenous filmmaking. Students may repeat this course as topics change.

Doc Center Alums: What are they up to now?

Are you a doc center alum or do you know one? Shoot us an email with what you’re up to these days (vivadocumentary@gmail.com) and we’ll post it the next time we do one of these posts.

*** Former Doc Center director Dave Korta sends along his latest short film titled “Let Go, This Is It,” featuring music from Dustin and the Furniture.

*** Doc Center veteran Chris Nelson sends along some documentary photography from September 11th, 2008 at Ground Zero. Nelson could also be seen recently helping shoot the Chicago Marathon for Bank of America.

*** Doc Center alum and Academy Award nominated filmmaker Tod Lending recently came into Tracy Ullman’s Producing the Doc class and shared some great producing tips from his own experience. We’ll have a video of that appearance posted online soon!

Are you a doc center alum or do you know one? Shoot us an email with what you’re up to these days (vivadocumentary@gmail.com) and we’ll post it the next time we do one of these posts.

Tip of the Day 12

In interview situations, don’t be afraid to ask your subject repetitive or overlapping questions, as having multiple choices can be helpful later on when you edit. Warn them that you’ll do so first though.

Tip of the Day 11

Never seat a subject in an swivel chair during an interview. They’ll be moving around the whole time and you’ll never maintain their facial axis.

Once and for all: What’s the difference between MiniDV and DVCAM?

Digital Video or DV has several incarnations, and for this article we’ll be looking at Sony’s products. They can essentially be broken into three categories: small format consumer tapes (MiniDV), small format professional tapes (Sony’s DVCAM), and large format professional tapes (DVCAM comes in larger sizes as well). Let’s break ‘em down and alleviate any confusion you might be feeling:

MiniDV


Most people are most familiar with MiniDV tapes, which are small-format 60 minute tapes that most consumer camcorders use. These cheap consumer-grade tapes cost a couple bucks each and tend to be relatively fragile so you won’t want to re-record over them more than once or play them too many times. These tapes are made by a variety of manufacturers, including Sony among others. Unlike the following two tapes which come in over-sized blue hard cases, MiniDV tapes are typically sold in small, thin, clear plastic cases.

Small Format DVCAM


Although these Sony tapes are more expensive, they’re also more durable and can typically be re-recorded over several times if needed. They can also be played back and forth many times before the tape is worn out, and for this reason they’re considered more reliable for use as masters in documentary film. These tapes can be used in consumer camcorders as well as pro-sumer cameras like the PD-150 or the shoulder-mount PD-250. Although the length of DVCAM tapes marketed as 40 minutes are technically 60 minutes long when recording in MiniDV mode, when they’re recorded in a Sony camera set on DVCAM mode they’ll only record for 40 minutes since the tape runs at a faster speed although the image quality will remain the same. Sony also makes a cheaper tape that shoots for 32 minutes in DVCAM mode.

Large Format DVCAM


Sony also makes large format (“full size”) DVCAM tapes for use in large format shoulder-mount cameras. These tapes are somewhere in between MiniDV and VHS in size and are considerably more expensive but can record for up to 184 minutes, so they’re often used for event shooting where there has to be non-interruptable coverage.

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