list http://www.spout.com/ Recent community activity around When the Levees Broke: A Requiem in Four Acts on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/When_the_Levees_Broke_A_Requiem_in_Four_Acts/277163/default.aspx Title: When the Levees Broke: A Requiem in Four Acts
Year: 2006
Director: Spike Lee
Plot: Academy Award-nominated director Spike Lee (the guiding force behind the critically acclaimed documentary 4 Little Girls) turns to nonfiction filmmaking once again with the heart-wrenching marathon work When the Levees Broke: A Requiem in Four Acts, produced by Lee's Forty Acres and a Mule Filmworks and originally screened on HBO. In four "acts" of approximately one hour each, Lee examines the devastation wrought by Hurricane Katrina in the late summer of 2005 and the incorrigible response to the catastrophe from U.S. government agencies. The filmmaker then evaluates the overwhelming measures that must be taken for the area to rebound and recover fully, demonstrating time and again that this seems an unlikely prospect in the immediate future. Act One covers the events that immediately preceded Katrina's onslaught of horror, with an in-depth exploration of the Bush administration and FEMA's joint failures to understand the potential calamity at hand. Lee picks up this subtopic again and makes it the central focus of Act Two, which expands into a dissection of the government agencies' failure to respond to the crisis with adequate measures; time and again, the director fills his frame, in this segment, with images and indications of naked human indifference. Act Three plunges headfirst into the toll taken by the hurricane on the lives of Louisiana residents, with protracted glimpses of the destruction wrought. And finally, the film wraps with Act Four, where Lee conducts more recent interviews with experts who question the soundness of the New Orleans levee system in the face of future catastrophes. A number of celebrities and public figures also appear on camera to provide commentary throughout the work, including New Orleans mayor Roy Nagin, actor, singer and social activist Harry Belafonte, and actor Sean Penn. ~ Nathan Southern, All Movie Guide
Times Tagged: 11
Number of Lists: 5
Number of blog posts: 51
SpoutRating: 4
]]>Mon, 13 Oct 2008 04:29:49 GMTWhen the Levees Broke: A Requiem in Four Acts2006Spike LeeAcademy Award-nominated director <a href="/players/P____99175/default.aspx" style='text-decoration:underline'>Spike Lee</a> (the guiding force behind the critically acclaimed documentary <a href=/films/112878/default.aspx style='text-decoration:underline'>4 Little Girls</a>) turns to nonfiction filmmaking once again with the heart-wrenching marathon work When the Levees Broke: A Requiem in Four Acts, produced by Lee's Forty Acres and a Mule Filmworks and originally screened on HBO. In four "acts" of approximately one hour each, Lee examines the devastation wrought by Hurricane Katrina in the late summer of 2005 and the incorrigible response to the catastrophe from U.S. government agencies. The filmmaker then evaluates the overwhelming measures that must be taken for the area to rebound and recover fully, demonstrating time and again that this seems an unlikely prospect in the immediate future. Act One covers the events that immediately preceded Katrina's onslaught of horror, with an in-depth exploration of the Bush administration and FEMA's joint failures to understand the potential calamity at hand. Lee picks up this subtopic again and makes it the central focus of Act Two, which expands into a dissection of the government agencies' failure to <i>respond</i> to the crisis with adequate measures; time and again, the director fills his frame, in this segment, with images and indications of naked human indifference. Act Three plunges headfirst into the toll taken by the hurricane on the lives of Louisiana residents, with protracted glimpses of the destruction wrought. And finally, the film wraps with Act Four, where Lee conducts more recent interviews with experts who question the soundness of the New Orleans levee system in the face of future catastrophes. A number of celebrities and public figures also appear on camera to provide commentary throughout the work, including New Orleans mayor Roy Nagin, actor, singer and social activist <a href="/players/P_____5054/default.aspx" style='text-decoration:underline'>Harry Belafonte</a>, and actor <a href="/players/P___106027/default.aspx" style='text-decoration:underline'>Sean Penn</a>. ~ Nathan Southern, All Movie Guide11Tag Target (>10)5514http://www.spout.com/ProductImages/t87848pwvjy.jpghttp://www.spout.com/films/When_the_Levees_Broke_A_Requiem_in_Four_Acts/277163/default.aspxFilm http://www.spout.com/blogs/chrismorrell/archive/2008/8/2/33458.aspx Post By: chrismorrell
Post To: chrismorrell Blog
Post Date: 8/2/2008 5:42:34 PM
Body: I remember ,back then (i nearly said,"back in the day") Spike Lee seemed to do no wrong for me..He was like a black, politically active Woody Allen.The directing style was immediate,broke the "forth wall" continually,and the polemic came with a heavy dose of cynical humour...how could i disagree with any of it? Remember this is when HipHop was the cutting edge political music. Public Enemy may have been the band featured,but it's equally a visual manifestation of the music of Gil-Scott Heron.. i enjoyed "Inside Man" ,but it was only with "When the Levees Broke" that Spike went back to the top of my list again...
]]>Sat, 02 Aug 2008 21:42:34 GMTchrismorrellchrismorrell Blog8/2/2008 5:42:34 PMI remember ,back then (i nearly said,"back in the day") Spike Lee seemed to do no wrong for me..He was like a black, politically active Woody Allen.The directing style was immediate,broke the "forth wall" continually,and the polemic came with a heavy dose of cynical humour...how could i disagree with any of it? Remember this is when HipHop was the cutting edge political music. Public Enemy may have been the band featured,but it's equally a visual manifestation of the music of Gil-Scott Heron.. i enjoyed "Inside Man" ,but it was only with "When the Levees Broke" that Spike went back to the top of my list again... http://www.spout.com/blogs/thefilmpanelnotetaker/archive/2008/7/3/32054.aspx Post By: thefilmpanelnotetaker
Post To: thefilmpanelnotetaker Blog
Post Date: 7/3/2008 10:01:22 AM
Body: Prolific filmmaker Spike Lee was honored at the Charles Guggenheim Symposium on June 19th. Clips from Lee's documentary work were played including 4 Little Girls, When the Levees Broke: A Requiem in Four Acts, We Was Robbed and Jim Brown: All American. And a preview of Lee's upcoming narrative feature, Miracle at St. Anna (In Theater Sept. 26), was also screened. Denver Post film critic Lisa Kennedy moderated a discussion with Lee. I've read a lot on other blogs that Lee came across as arrogant, but I thought he was just responding honestly to Kennedy, who for the most part, seemed to know her Lee film history well, but often times became redundant in her questioning and struggled to come up with questions. Below are highlights of the opening remarks and some of the questions asked during the discussion.Guggenheim Symposium - Spike LeeSilverdocs AFI/Discovery Channel Documentary FestivalSilver Spring, MD June 19, 2008AFI President Bob Gazzale introduced the discussion referring to Charles Guggenheim, for whom the symposium is named. Gazzale said: "Without question (Guggenheim) is one of the central figures in American film history. A documentary filmmaker who chartered a record of this nation's history, of its people and its stories across five decades... Charles made over 100 documentaries. From films that documented political campaigns: Stevenson, Kennedy, McGovern to name just a few...films about architecture, the civil rights movement. We all remember the film about the Jonestown flood...a levee that broke in 1889. His work defines you and me. The heroic struggles of every man and every woman, and the dignity in that struggle. At the very heart of all of his films, even if it's about the St. Louis arch, they are films about inspiration probably best defined a moment in the very end of the film about Bobby Kennedy when Kennedy says, 'You can do something about tomorrow.' That's Charles Guggenheim. That's the spirit that carries us into this room today...and to our honoree tonight. He arrived in our collective cultural consciousness in the 1980s a fierce and a fearless voice in American film. His narrative work is of such a singular place in our world that...I think if not he, who? Who would be telling these stories? Who would be challenging us to see America as a diverse and vibrant and complicated place that it is filled with art and music and hope and color and anger and inspiration. Who would create those characters that are smart people on screen who smash stereotypes. Each well written, well spoken, well acted work. They are people we all aspire to be. They are heroes and yet they're humble. When his name is on a film, you better be up for a challenge. Think of the end of Do the Right Thing. A quote from Malcolm X. A quote from Martin Luther King. He's a filmmaker who does not ask us to think his way, he asks us to think. This is never more true than when you look at his nonfiction work. He's made several documentaries including Four Little Girls, which is reason enough for us to gather here tonight. But then a storm began to brew out over the Atlantic Ocean and it became Hurricane Katrina, a natural disaster and a national disaster. It tore the roof off of America we had become a little too comfortable with. And if it weren't for our honoree tonight, the truth would be gone like the storm itself. The tragedy and its causes would be lost in a sea of sitcoms. But instead, we have a documentary that reminds us who we are as a nation and how far we have to go. And it reminds us of what Bobby Kennedy said that you can do something about tomorrow. So we gather tonight to honor a great man of American film and a great man of America. His name is Spike Lee.Lisa Kennedy then made her introduction: "Because Bob did such a lovely job of contextualizing what Spike really means to us and has meant to us for more than two decades now, I want to take a moment to probably be a little bit more personal. When I started writing, Spike was also starting to make feature films. I used to think he did something along with a couple of other filmmakers that came after him called letting us in on the black 'familiar' -- little moments, conversations, looks, gestures, ways of talking, but also things like progress. It just reminded me that he got it. He got the texture of African American life. He loved it. You know, that was a long time ago when he started doing that. And I know think of that 'familiar' as our 'familiar,' the 'American familiar.' There are perfect storms of incompetence and frightening weather and bad engineering that allowed for something like the levees breaking in New Orleans. And then there's this other thing that I also think was a perfect storm, but storms the wrong word, because it's so positive and I think what better week to be talking to Spike Lee...what better year to be talking to Spike, than a time where an African-American man is running for president. (Big applause from the audience.) At the same time, there are levees that are starting to give way and have been giving way. Spike connects us to our moment. He connects us to bodies. I think he does that in this documentary. And one of the things I think is amazing about this body of work...his legacy as a filmmaker is that you look at his narrative films, they're so vibrant. They have style, they have vigor, they have music, they have so much texture and they're bold. And the acting in them is extraordinary. He works so beautifully with performance. That's his narrative work. His documentaries are just as challenging, and it's amazing. I think this is a man who makes documentaries that allow other people to tell stories...to tell their stories...to tell our stories. And it has to be in part because he has competence that he's told his stories the way he wants to and he has the peace and the wherewithal to hear someone else's story and I think that comes across in the clip reel we're going to see where he talks to the parents of the little girls that died from that bomb in 1963. This will be the 45th anniversary of that bombing a the 16th Street Church in Birmingham. Not only does he talk to them, he builds a kind of trust. I think there's a trust he also built with audiences that as I said, can think for ourselves. I think that's extraordinary. I always want to go out of a documentary having more questions. Not more questions as in, 'why didn't they do it this way?' but more questions because I think that it's a challenge. I don't want someone to answer the truth of the world for me. I think Spike Lee's done an extraordinary job with his films. When the Levees Broke is an amazing documentary. The funny thing is, whenever we told Spike this...it took me a long time to look at it because that's my family. My great aunt left there and went to Houston and she died. She was very old, but she lost something. She was the storyteller in my family about the power of New Orleans as a place to live. So I don't think I've ever said to Spike, thank you for a movie that broke my heart and challenged me. What we're going to see in this clip real is...I do think there is hope and distillation of what he does so well.(Clip reel presented)Kennedy: When you decided to make Four Little Girls, did you want to make a documentary? When did you start that process?Lee: In film school, I wrote I wanted to do a narrative film about this. That was 1981. I never forgot about that story. For me, it was better to do it as a documentary. I was in Birmingham, my family's from Alabama. I spent the night (at the family's) house. They trusted me. Ellen Kuras, a great cinematographer, she shot it. She also shot Bamboozled and Summer of Sam. The hardest thing about this was I had to really pray on including those post-mortem shots. I thought about that long and hard. They were in the cut, they were out of the cut. But finally I decided that the audience should see what those sticks of dynamite did to these four girls who were never allowed to grow up. The whole thing about the documentary, how I approached I wanted to talk with the people, who knew in their own words, tell us what they thought they might have become if they had been allowed to live. Kennedy: I saw (Ellen Kuras) talking about the interview with Maxine McNair and how moving and difficult that was as a DP. Normally, you're behind the camera and you have a little distance, and I was sort of curious...did you find moments like that as well? Where do you position yourself? Do you protect yourself?Lee: You know what, it's not about protection, but you have to ask questions. And you know you're asking questions and people break down. You can never say the wounds heal. You're still digging up a lot of emotions. I guess being a parent, too, that on top of that, these great people talk about their loss.Kennedy: How does a filmmaker build trust?Lee: They see my films. If you're a documentary filmmaker and your subjects don't trust you, you're not going to have a film. They don't know me, but they know me through my work.Kennedy: What other film films or narrative features helped you prepare for Four Little Girls?Lee: Narratives tell the story, whether it's a documentary or feature films. For me, it's still telling the story, so I don't they there's a distinction.Kennedy: When I saw When the Levees Broke, one of the things I loved is when you decide to let your voice enter the picture. What triggers that? When do you decide to do that? Is there a moment when you think it works? I think it's very powerful because you don't use it very much?Lee: You need to hear my questions again to hear my answer. People who have seen my documentaries, we don't use narrators. There's no narration in any of these. Sam Pollack I'd like to thank, who's the editor.Kennedy: How did We Was Robbed Come about?Lee: I got approached by these people that were putting together a bunch of films by directors from all over the world. They could be about anything, but could only be 10 minutes. There was no limit on the subject matter. I read the story about how Al Gore was 10 minutes away from making his concessional speech, so I tracked all these people down and turned my camera on.Kennedy: You're working on the Kobe Bryant film. Can you talk about the structure of that?Lee: There was a film in Cannes three years ago about Tze Chung, the great soccer player. In that film, they have 20 cameras on him. I liked it. I said, this would work better with basketball. This past April 13, there was a game at the Staples Center, the Lakers versus the then world champions San Antonio Spurs. We had 30 cameras on Kobe. It's going to air on ESPN and ABC when they kick off the next basketball season.Kennedy: How did Jim Brown, All American come about?Lee: Jim's one of the most fascinating people I ever met. He's an activist. He's the greatest football player. At one point, the biggest movie star in Hollywood. He's always been relevant. It was just natural. He said, 'Spike, I don't care what you show.' He is so secure in who he is. He gave me complete freedom. Kennedy: Let's talk a little bit about that guy who's running for president. Do you think if Obama becomes president...?Lee: There's no if! (Rousing applause from audience.) It changes the way the world looks at the United States. It changes everything. It's going to be Before Obama (BB) and After Obama (AO). And some folks need to get used to this. It's gonna be a new day. And it's not just going to be a new day, but a better day. I'm going to be at that inauguration, too.Kennedy: What does that mean for artists? What does that mean for you?Lee: As artists, you reflect what you see in the world. I think you'll see a lot of art reflect the good this country is going to embark on.Kennedy: Are there documentaries you'd like to see you don't want to make?Lee: There are narrative films. I'd love to see a great film on Martin Luther King. I don't think I can do it. Marcus Garvey. I can't do everything. Gotta leave room for Tyler Perry. (Great big LOL from audience.) Kennedy: I know you have the Kobe Bryant coming up.Lee: One on Michael Jordan, too.Kennedy: Tell me about that.Lee: We're going to be doing it. This one about Michael is going to be about his last year in Chicago. The bulk of the filming is done. We had a camera every single day. We hope to have a world premiere in Cannes next May.Kennedy: What are some of the things you learned from James McBride's research on Miracle at St. Anna?Lee: Before James wrote the book, he interviewed a lot of the black men from the 92nd Division. In fact, he compiled a lot of those people into characters. Again, Judy (Lee's researcher) sent me everything she could on the war effort, the participation on land, African Americans in World War II and then the specifics on where it takes place in Italy. It takes place in Tuscany and the whole thing was happening while the country was in a civil war. The fascists run by Mussolini were in cahoots with Hitler and the Nazis. For me as a filmmaker, I can't have enough research. Judy sends me everything. Kennedy: Don't you think there's still opportunities for documentaries about that part of the greatest generation that we haven't really heard of?Lee: There's plenty of stuff. It's wide open. Myself and Ken Burns do not have a monopoly on the great stories that need to be told. Originally posted on:The Film Panel Notetaker - Miss a panel discussion? Don't worry! We took notes for you.
]]>Thu, 03 Jul 2008 14:01:22 GMTthefilmpanelnotetakerthefilmpanelnotetaker Blog7/3/2008 10:01:22 AMProlific filmmaker Spike Lee was honored at the Charles Guggenheim Symposium on June 19th. Clips from Lee's documentary work were played including 4 Little Girls, When the Levees Broke: A Requiem in Four Acts, We Was Robbed and Jim Brown: All American. And a preview of Lee's upcoming narrative feature, Miracle at St. Anna (In Theater Sept. 26), was also screened. Denver Post film critic Lisa Kennedy moderated a discussion with Lee. I've read a lot on other blogs that Lee came across as arrogant, but I thought he was just responding honestly to Kennedy, who for the most part, seemed to know her Lee film history well, but often times became redundant in her questioning and struggled to come up with questions. Below are highlights of the opening remarks and some of the questions asked during the discussion.Guggenheim Symposium - Spike LeeSilverdocs AFI/Discovery Channel Documentary FestivalSilver Spring, MD June 19, 2008AFI President Bob Gazzale introduced the discussion referring to Charles Guggenheim, for whom the symposium is named. Gazzale said: "Without question (Guggenheim) is one of the central figures in American film history. A documentary filmmaker who chartered a record of this nation's history, of its people and its stories across five decades... Charles made over 100 documentaries. From films that documented political campaigns: Stevenson, Kennedy, McGovern to name just a few...films about architecture, the civil rights movement. We all remember the film about the Jonestown flood...a levee that broke in 1889. His work defines you and me. The heroic struggles of every man and every woman, and the dignity in that struggle. At the very heart of all of his films, even if it's about the St. Louis arch, they are films about inspiration probably best defined a moment in the very end of the film about Bobby Kennedy when Kennedy says, 'You can do something about tomorrow.' That's Charles Guggenheim. That's the spirit that carries us into this room today...and to our honoree tonight. He arrived in our collective cultural consciousness in the 1980s a fierce and a fearless voice in American film. His narrative work is of such a singular place in our world that...I think if not he, who? Who would be telling these stories? Who would be challenging us to see America as a diverse and vibrant and complicated place that it is filled with art and music and hope and color and anger and inspiration. Who would create those characters that are smart people on screen who smash stereotypes. Each well written, well spoken, well acted work. They are people we all aspire to be. They are heroes and yet they're humble. When his name is on a film, you better be up for a challenge. Think of the end of Do the Right Thing. A quote from Malcolm X. A quote from Martin Luther King. He's a filmmaker who does not ask us to think his way, he asks us to think. This is never more true than when you look at his nonfiction work. He's made several documentaries including Four Little Girls, which is reason enough for us to gather here tonight. But then a storm began to brew out over the Atlantic Ocean and it became Hurricane Katrina, a natural disaster and a national disaster. It tore the roof off of America we had become a little too comfortable with. And if it weren't for our honoree tonight, the truth would be gone like the storm itself. The tragedy and its causes would be lost in a sea of sitcoms. But instead, we have a documentary that reminds us who we are as a nation and how far we have to go. And it reminds us of what Bobby Kennedy said that you can do something about tomorrow. So we gather tonight to honor a great man of American film and a great man of America. His name is Spike Lee.Lisa Kennedy then made her introduction: "Because Bob did such a lovely job of contextualizing what Spike really means to us and has meant to us for more than two decades now, I want to take a moment to probably be a little bit more personal. When I started writing, Spike was also starting to make feature films. I used to think he did something along with a couple of other filmmakers that came after him called letting us in on the black 'familiar' -- little moments, conversations, looks, gestures, ways of talking, but also things like progress. It just reminded me that he got it. He got the texture of African American life. He loved it. You know, that was a long time ago when he started doing that. And I know think of that 'familiar' as our 'familiar,' the 'American familiar.' There are perfect storms of incompetence and frightening weather and bad engineering that allowed for something like the levees breaking in New Orleans. And then there's this other thing that I also think was a perfect storm, but storms the wrong word, because it's so positive and I think what better week to be talking to Spike Lee...what better year to be talking to Spike, than a time where an African-American man is running for president. (Big applause from the audience.) At the same time, there are levees that are starting to give way and have been giving way. Spike connects us to our moment. He connects us to bodies. I think he does that in this documentary. And one of the things I think is amazing about this body of work...his legacy as a filmmaker is that you look at his narrative films, they're so vibrant. They have style, they have vigor, they have music, they have so much texture and they're bold. And the acting in them is extraordinary. He works so beautifully with performance. That's his narrative work. His documentaries are just as challenging, and it's amazing. I think this is a man who makes documentaries that allow other people to tell stories...to tell their stories...to tell our stories. And it has to be in part because he has competence that he's told his stories the way he wants to and he has the peace and the wherewithal to hear someone else's story and I think that comes across in the clip reel we're going to see where he talks to the parents of the little girls that died from that bomb in 1963. This will be the 45th anniversary of that bombing a the 16th Street Church in Birmingham. Not only does he talk to them, he builds a kind of trust. I think there's a trust he also built with audiences that as I said, can think for ourselves. I think that's extraordinary. I always want to go out of a documentary having more questions. Not more questions as in, 'why didn't they do it this way?' but more questions because I think that it's a challenge. I don't want someone to answer the truth of the world for me. I think Spike Lee's done an extraordinary job with his films. When the Levees Broke is an amazing documentary. The funny thing is, whenever we told Spike this...it took me a long time to look at it because that's my family. My great aunt left there and went to Houston and she died. She was very old, but she lost something. She was the storyteller in my family about the power of New Orleans as a place to live. So I don't think I've ever said to Spike, thank you for a movie that broke my heart and challenged me. What we're going to see in this clip real is...I do think there is hope and distillation of what he does so well.(Clip reel presented)Kennedy: When you decided to make Four Little Girls, did you want to make a documentary? When did you start that process?Lee: In film school, I wrote I wanted to do a narrative film about this. That was 1981. I never forgot about that story. For me, it was better to do it as a documentary. I was in Birmingham, my family's from Alabama. I spent the night (at the family's) house. They trusted me. Ellen Kuras, a great cinematographer, she shot it. She also shot Bamboozled and Summer of Sam. The hardest thing about this was I had to really pray on including those post-mortem shots. I thought about that long and hard. They were in the cut, they were out of the cut. But finally I decided that the audience should see what those sticks of dynamite did to these four girls who were never allowed to grow up. The whole thing about the documentary, how I approached I wanted to talk with the people, who knew in their own words, tell us what they thought they might have become if they had been allowed to live. Kennedy: I saw (Ellen Kuras) talking about the interview with Maxine McNair and how moving and difficult that was as a DP. Normally, you're behind the camera and you have a little distance, and I was sort of curious...did you find moments like that as well? Where do you position yourself? Do you protect yourself?Lee: You know what, it's not about protection, but you have to ask questions. And you know you're asking questions and people break down. You can never say the wounds heal. You're still digging up a lot of emotions. I guess being a parent, too, that on top of that, these great people talk about their loss.Kennedy: How does a filmmaker build trust?Lee: They see my films. If you're a documentary filmmaker and your subjects don't trust you, you're not going to have a film. They don't know me, but they know me through my work.Kennedy: What other film films or narrative features helped you prepare for Four Little Girls?Lee: Narratives tell the story, whether it's a documentary or feature films. For me, it's still telling the story, so I don't they there's a distinction.Kennedy: When I saw When the Levees Broke, one of the things I loved is when you decide to let your voice enter the picture. What triggers that? When do you decide to do that? Is there a moment when you think it works? I think it's very powerful because you don't use it very much?Lee: You need to hear my questions again to hear my answer. People who have seen my documentaries, we don't use narrators. There's no narration in any of these. Sam Pollack I'd like to thank, who's the editor.Kennedy: How did We Was Robbed Come about?Lee: I got approached by these people that were putting together a bunch of films by directors from all over the world. They could be about anything, but could only be 10 minutes. There was no limit on the subject matter. I read the story about how Al Gore was 10 minutes away from making his concessional speech, so I tracked all these people down and turned my camera on.Kennedy: You're working on the Kobe Bryant film. Can you talk about the structure of that?Lee: There was a film in Cannes three years ago about Tze Chung, the great soccer player. In that film, they have 20 cameras on him. I liked it. I said, this would work better with basketball. This past April 13, there was a game at the Staples Center, the Lakers versus the then world champions San Antonio Spurs. We had 30 cameras on Kobe. It's going to air on ESPN and ABC when they kick off the next basketball season.Kennedy: How did Jim Brown, All American come about?Lee: Jim's one of the most fascinating people I ever met. He's an activist. He's the greatest football player. At one point, the biggest movie star in Hollywood. He's always been relevant. It was just natural. He said, 'Spike, I don't care what you show.' He is so secure in who he is. He gave me complete freedom. Kennedy: Let's talk a little bit about that guy who's running for president. Do you think if Obama becomes president...?Lee: There's no if! (Rousing applause from audience.) It changes the way the world looks at the United States. It changes everything. It's going to be Before Obama (BB) and After Obama (AO). And some folks need to get used to this. It's gonna be a new day. And it's not just going to be a new day, but a better day. I'm going to be at that inauguration, too.Kennedy: What does that mean for artists? What does that mean for you?Lee: As artists, you reflect what you see in the world. I think you'll see a lot of art reflect the good this country is going to embark on.Kennedy: Are there documentaries you'd like to see you don't want to make?Lee: There are narrative films. I'd love to see a great film on Martin Luther King. I don't think I can do it. Marcus Garvey. I can't do everything. Gotta leave room for Tyler Perry. (Great big LOL from audience.) Kennedy: I know you have the Kobe Bryant coming up.Lee: One on Michael Jordan, too.Kennedy: Tell me about that.Lee: We're going to be doing it. This one about Michael is going to be about his last year in Chicago. The bulk of the filming is done. We had a camera every single day. We hope to have a world premiere in Cannes next May.Kennedy: What are some of the things you learned from James McBride's research on Miracle at St. Anna?Lee: Before James wrote the book, he interviewed a lot of the black men from the 92nd Division. In fact, he compiled a lot of those people into characters. Again, Judy (Lee's researcher) sent me everything she could on the war effort, the participation on land, African Americans in World War II and then the specifics on where it takes place in Italy. It takes place in Tuscany and the whole thing was happening while the country was in a civil war. The fascists run by Mussolini were in cahoots with Hitler and the Nazis. For me as a filmmaker, I can't have enough research. Judy sends me everything. Kennedy: Don't you think there's still opportunities for documentaries about that part of the greatest generation that we haven't really heard of?Lee: There's plenty of stuff. It's wide open. Myself and Ken Burns do not have a monopoly on the great stories that need to be told. Originally posted on:The Film Panel Notetaker - Miss a panel discussion? Don't worry! We took notes for you. http://www.spout.com/blogs/tenenbaums/archive/2008/5/20/29624.aspx Post By: Tenenbaums
Post To: Tenenbaums Blog
Post Date: 5/20/2008 11:29:28 PM
Body: Signed to HBO Films and to be screened on the premium channel on Aug. 25, "The Black List" is a series of talks with 21 of the most well-known contemporary African-Americans. Consisting of nothing but interviews, the occasional archival photo, a steady muted string soundtrack and inter-segment fade-outs to pastels, Timothy Greenfield-Sanders' project features a consistent barrage of wit and wisdom from these famous names, as interviewed by an unseen, but clearly inspirational, Elvis Mitchell.Beginning with former Guns N' Roses guitarist Slash (who knew he was black?) commenting that he appears as an entry in a book on influential Jews, the filmmakers talk with famous athletes, politicians, writers, dancers and lawyers about how they view the state of the black celebrity by weaving in touching personal anecdotes. Greenfield-Sanders noted the timeliness of screening the film on the 40th anniversary of Dr. Martin Luther King Jr.'s death and in the midst of Barack Obama's presidential campaign. The predominantly white audience couldn't agree more, sighing and clapping on each invisible cue when so moved by the apparent (thanks to the power of editing) soliloquies.Keenen Ivory Wayans and Chris Rock expectedly provide the most entertaining segments, but Colin Powell and Al Sharpton were the true stars. Powell delivers his trademarked reassurance and knowledge, urging citizens to wake up from the present "2nd Civil War," but Sharpton proves, as he did in "When The Levees Broke," that he is the go-to guy for enlightening analysis on racial equality in documentary films. His labeling of the current youth "hip-hop culture" as lacking the roots of previous generations and, as a result, behaving in a manner that validates every negative stereotype that whites have of blacks, is entirely accurate. It is this brand of foresight delivered through intelligent language that has the potential to motivate all races towards greater tolerance and is on par with the frequently-labeled "radical" behavior of fellow black leaders such as Spike Lee. After "The Black List," it will hopefully become more evident that "radical" is a harsh substitute for "wisdom and courage."Greenfield-Sanders noted in the following Q&A at the Full Frame Documentary Film Festival on April 4, 2008, that race "is always at the surface" and that the producers are working with Scholastic to get the film and its message into the classrooms. The eventual goal is to have kids upload their own stories on a website in order for them to hopefully realize that we aren't that different as humans through our stories. The film's intent is honorable and overall it is cinematically successful on all fronts. I wish it the best in its endeavors and hope that the intended multiple future chapters will be realized.
]]>Wed, 21 May 2008 03:29:28 GMTTenenbaumsTenenbaums Blog5/20/2008 11:29:28 PMSigned to HBO Films and to be screened on the premium channel on Aug. 25, "The Black List" is a series of talks with 21 of the most well-known contemporary African-Americans. Consisting of nothing but interviews, the occasional archival photo, a steady muted string soundtrack and inter-segment fade-outs to pastels, Timothy Greenfield-Sanders' project features a consistent barrage of wit and wisdom from these famous names, as interviewed by an unseen, but clearly inspirational, Elvis Mitchell.Beginning with former Guns N' Roses guitarist Slash (who knew he was black?) commenting that he appears as an entry in a book on influential Jews, the filmmakers talk with famous athletes, politicians, writers, dancers and lawyers about how they view the state of the black celebrity by weaving in touching personal anecdotes. Greenfield-Sanders noted the timeliness of screening the film on the 40th anniversary of Dr. Martin Luther King Jr.'s death and in the midst of Barack Obama's presidential campaign. The predominantly white audience couldn't agree more, sighing and clapping on each invisible cue when so moved by the apparent (thanks to the power of editing) soliloquies.Keenen Ivory Wayans and Chris Rock expectedly provide the most entertaining segments, but Colin Powell and Al Sharpton were the true stars. Powell delivers his trademarked reassurance and knowledge, urging citizens to wake up from the present "2nd Civil War," but Sharpton proves, as he did in "When The Levees Broke," that he is the go-to guy for enlightening analysis on racial equality in documentary films. His labeling of the current youth "hip-hop culture" as lacking the roots of previous generations and, as a result, behaving in a manner that validates every negative stereotype that whites have of blacks, is entirely accurate. It is this brand of foresight delivered through intelligent language that has the potential to motivate all races towards greater tolerance and is on par with the frequently-labeled "radical" behavior of fellow black leaders such as Spike Lee. After "The Black List," it will hopefully become more evident that "radical" is a harsh substitute for "wisdom and courage."Greenfield-Sanders noted in the following Q&amp;A at the Full Frame Documentary Film Festival on April 4, 2008, that race "is always at the surface" and that the producers are working with Scholastic to get the film and its message into the classrooms. The eventual goal is to have kids upload their own stories on a website in order for them to hopefully realize that we aren't that different as humans through our stories. The film's intent is honorable and overall it is cinematically successful on all fronts. I wish it the best in its endeavors and hope that the intended multiple future chapters will be realized. http://www.spout.com/blogs/tenenbaums/archive/2007/8/31/19172.aspx Post By: Tenenbaums
Post To: Tenenbaums Blog
Post Date: 8/31/2007 12:49:00 AM
Body: Getting an audience to listen to a message that is critical of the Iraq War is not hard. Political venues, water coolers, and street corners are full of disgust for the Bush Administration and countless citizens worldwide have Inauguration Day 2009 circled on their calendars. The difficult task is presenting a balanced and informed yet still passionate cross-examination of this red-hot topic. In a volatile, confusing time, Charles Ferguson’s new documentary No End In Sight is well aware of this challenge and ambitiously attacks this decade’s defining dividing point with the necessary goods.In order to present the argument at hand, one must go back to the beginning to see where things went awry. Ferguson hinges his argument on four major points: the decision not to instill Martial Law after the fall of Baghdad; Paul Bremer’s subsequent decision to disassemble the Iraqi military; the poor planning of the amount of American troops needed to contain possible insurgencies; and the general lack of planning leading up to the invasion of Iraq. By comparison, Ferguson notes that President Eisenhower and his administration planned the occupation of Germany for two years. In the time the writer/director takes to reveal this factoid, past hasty decisions come to mind and it becomes clear why the U.S. has not been on the winning side of a war since 1945.No End In Sight wisely shifts the blame away from Bush alone to his entire administration. The immediate finger-pointees are the Three Amigos and architects of the invasion: Dick Cheney, Donald Rumsfeld, and Paul Wolfowitz. Ferguson isolates this trio as a group that acted without military advising or assistance from anyone with extensive relevant experience. From there, the only task was getting cabinet members such as Condoleezza Rice and Colin Powell to buy into their ill-informed plan, which soon resulted in a snowball effect of head-nodding (the majority of U.S. citizens included). For Powell and others who later resigned their posts, playing along meant helping the U.S. government appear unified and sturdy. When they could no longer cope with being a part of such a corrupt machine, they bailed and their actions echo in the midst of subsequent and recent resignations. The parties chosen to present the facts include authors of many recent books exploring the “why”s and “how”s of the Iraq War, a handful of respected journalists who were in Baghdad in early-mid 2003, and numerous government employees who were instrumental in the immediate aftermath of the fall of Baghdad yet abandoned soon after. In gathering this group, Ferguson has assembled an essential nexus of interviewees to help tell the story. For their abandonment, the aforementioned former officials grant Ferguson full access to their frustrations and as the truth is exposed by the people who were converted to puppets in roles for which they did not audition, the audience is granted a rare insider treat. When a key player whose insight would have been additionally beneficial yet self-incriminating to the story is not included, their refusal to be interviewed is duly noted at the chronological point where their contributions would have been both most vital and personally damaging. The one exception to a “guilty” party agreeing to be interviewed is Walter Slocombe, a senior adviser of Bremer’s Coalition Provisional Authority. Despite his noble willingness to participate, the questions quickly become too big for Slocombe to handle alone. He does his best to tell what he can and escape unscathed, but at the same time exhibits the false innocence filibustering that likely would have been seen from his absent colleagues.The result of these efforts is the mainstream film about the Iraq war for which truth seekers bewildered in the face of constant ill-informed patriotism have been waiting. Michael Moore stirred up welcome attention with his sloppy, rushed Fahrenheit 9/11, but Ferguson’s message is leagues more balanced and, in turn, more informative. No End In Sight is all of these things...and it is redundant. Likely conscious of his repetition, Ferguson includes a clip, albeit a short one, from the PBS series Frontline, the Mt. Olympus of contemporary documentary programs. The clip’s episode, titled “Truth, War, & Consequences,” features interviews with many of the same players of No End In Sight and in multiple ways beat Ferguson’s film to the proverbial punch. With most of the story already told elsewhere, No End In Sight nevertheless exists as essential viewing based on its release date. While Frontline’s message was just as educational and true when the episode in question first aired in October 2003, more people are now willing to listen to the story after taking more lumps from the Bush administration. Ferguson is also likely aware of that story’s absence on the big screen and intelligently fills that void.Whereas Spike Lee’s When The Levees Broke used similar interviewee choices and stock footage to help successfully expose the government injustice of Hurricane Katrina and the New Orleans aftermath, Ferguson’s film also stands as an important cinematic chronicle of modern U.S. history. And like the rebuilding of and aid toward the affected Gulf Coast communities is far from over, the Iraq war, true to Ferguson’s film’s title, has no end in sight.
]]>Fri, 31 Aug 2007 04:49:00 GMTTenenbaumsTenenbaums Blog8/31/2007 12:49:00 AMGetting an audience to listen to a message that is critical of the Iraq War is not hard. Political venues, water coolers, and street corners are full of disgust for the Bush Administration and countless citizens worldwide have Inauguration Day 2009 circled on their calendars. The difficult task is presenting a balanced and informed yet still passionate cross-examination of this red-hot topic. In a volatile, confusing time, Charles Ferguson&rsquo;s new documentary No End In Sight is well aware of this challenge and ambitiously attacks this decade&rsquo;s defining dividing point with the necessary goods.In order to present the argument at hand, one must go back to the beginning to see where things went awry. Ferguson hinges his argument on four major points: the decision not to instill Martial Law after the fall of Baghdad; Paul Bremer&rsquo;s subsequent decision to disassemble the Iraqi military; the poor planning of the amount of American troops needed to contain possible insurgencies; and the general lack of planning leading up to the invasion of Iraq. By comparison, Ferguson notes that President Eisenhower and his administration planned the occupation of Germany for two years. In the time the writer/director takes to reveal this factoid, past hasty decisions come to mind and it becomes clear why the U.S. has not been on the winning side of a war since 1945.No End In Sight wisely shifts the blame away from Bush alone to his entire administration. The immediate finger-pointees are the Three Amigos and architects of the invasion: Dick Cheney, Donald Rumsfeld, and Paul Wolfowitz. Ferguson isolates this trio as a group that acted without military advising or assistance from anyone with extensive relevant experience. From there, the only task was getting cabinet members such as Condoleezza Rice and Colin Powell to buy into their ill-informed plan, which soon resulted in a snowball effect of head-nodding (the majority of U.S. citizens included). For Powell and others who later resigned their posts, playing along meant helping the U.S. government appear unified and sturdy. When they could no longer cope with being a part of such a corrupt machine, they bailed and their actions echo in the midst of subsequent and recent resignations. The parties chosen to present the facts include authors of many recent books exploring the &ldquo;why&rdquo;s and &ldquo;how&rdquo;s of the Iraq War, a handful of respected journalists who were in Baghdad in early-mid 2003, and numerous government employees who were instrumental in the immediate aftermath of the fall of Baghdad yet abandoned soon after. In gathering this group, Ferguson has assembled an essential nexus of interviewees to help tell the story. For their abandonment, the aforementioned former officials grant Ferguson full access to their frustrations and as the truth is exposed by the people who were converted to puppets in roles for which they did not audition, the audience is granted a rare insider treat. When a key player whose insight would have been additionally beneficial yet self-incriminating to the story is not included, their refusal to be interviewed is duly noted at the chronological point where their contributions would have been both most vital and personally damaging. The one exception to a &ldquo;guilty&rdquo; party agreeing to be interviewed is Walter Slocombe, a senior adviser of Bremer&rsquo;s Coalition Provisional Authority. Despite his noble willingness to participate, the questions quickly become too big for Slocombe to handle alone. He does his best to tell what he can and escape unscathed, but at the same time exhibits the false innocence filibustering that likely would have been seen from his absent colleagues.The result of these efforts is the mainstream film about the Iraq war for which truth seekers bewildered in the face of constant ill-informed patriotism have been waiting. Michael Moore stirred up welcome attention with his sloppy, rushed Fahrenheit 9/11, but Ferguson&rsquo;s message is leagues more balanced and, in turn, more informative. No End In Sight is all of these things...and it is redundant. Likely conscious of his repetition, Ferguson includes a clip, albeit a short one, from the PBS series Frontline, the Mt. Olympus of contemporary documentary programs. The clip&rsquo;s episode, titled &ldquo;Truth, War, &amp; Consequences,&rdquo; features interviews with many of the same players of No End In Sight and in multiple ways beat Ferguson&rsquo;s film to the proverbial punch. With most of the story already told elsewhere, No End In Sight nevertheless exists as essential viewing based on its release date. While Frontline&rsquo;s message was just as educational and true when the episode in question first aired in October 2003, more people are now willing to listen to the story after taking more lumps from the Bush administration. Ferguson is also likely aware of that story&rsquo;s absence on the big screen and intelligently fills that void.Whereas Spike Lee&rsquo;s When The Levees Broke used similar interviewee choices and stock footage to help successfully expose the government injustice of Hurricane Katrina and the New Orleans aftermath, Ferguson&rsquo;s film also stands as an important cinematic chronicle of modern U.S. history. And like the rebuilding of and aid toward the affected Gulf Coast communities is far from over, the Iraq war, true to Ferguson&rsquo;s film&rsquo;s title, has no end in sight. http://www.spout.com/blogs/tenenbaums/archive/2007/7/25/15890.aspx Post By: Tenenbaums
Post To: Tenenbaums Blog
Post Date: 7/25/2007 1:10:00 AM
Body: Spike Lee's documentary When The Levees Broke is a masterfully empathetic look at the events leading up to and especially following the Hurricane Katrina disaster in New Orleans. Crystal clear stock footage meets grainy home video and shots of the aftermath and allows the informative movie to proceed effortlessly, though not without pulling the viewer along in the flood waters.Lee's mark as a filmmaker is all over the work. There is no way to identify Bob Dylan: No Direction Home as a Martin Scorsese film, but Lee manages to combine several of his trademarked cinematography cornerstones with straightforward interviewing techniques to craft a distinct Spike Lee Joint. Perhaps Jean-Luc Godard put a similar unique stamp on Sympathy for the Devil, but I have yet to see that work.The interviews with the survivors are informative and heartbreaking. Their emotions are incredibly real and all are entirely critical of President Bush and the U.S. government's failure to supply immediate aid. However, two frequent interviewees (Phyllis Montana LeBlanc, apparently Lee's preferred heroine, and Dr. Michael Eric Dyson) and their annoying tones to take away from their respective accounts' power. Their anger is understandable, but incessant sarcasm is not the way to gain an empathizing audience. All of the other contributors present eloquent tales of suffering and successfully convey their ire, including pompous celebrities like Kanye West. Rev. Al Sharpton is one of the most outspoken people in the U.S., yet his comments (still full of rage and vengeance) are some of the clearest and effective of the entire film. The most haunting moment by far is of longtime Lee collaborator Terence Blanchard walking down the streets of destruction playing "Just A Closer Walk With Thee" on his trumpet. Blanchard's own original music composed especially for the documentary ranks among his best work.In addition to Richard Linklater's Fast Food Nation, Lee's film is as important a view as An Inconvenient Truth. Many major fixable issues are currently prominent in our nation due to ignorance and a lack of conscience and it is a somewhat unfortunate sign of the times that it takes Hollywood filmmakers' voices to beseech the masses. I am glad that people with such an audience use their gifts to raise awareness, but respective situations should never come to that.
]]>Wed, 25 Jul 2007 05:10:00 GMTTenenbaumsTenenbaums Blog7/25/2007 1:10:00 AMSpike Lee&#39;s documentary When The Levees Broke is a masterfully empathetic look at the events leading up to and especially following the Hurricane Katrina disaster in New Orleans. Crystal clear stock footage meets grainy home video and shots of the aftermath and allows the informative movie to proceed effortlessly, though not without pulling the viewer along in the flood waters.Lee&#39;s mark as a filmmaker is all over the work. There is no way to identify Bob Dylan: No Direction Home as a Martin Scorsese film, but Lee manages to combine several of his trademarked cinematography cornerstones with straightforward interviewing techniques to craft a distinct Spike Lee Joint. Perhaps Jean-Luc Godard put a similar unique stamp on Sympathy for the Devil, but I have yet to see that work.The interviews with the survivors are informative and heartbreaking. Their emotions are incredibly real and all are entirely critical of President Bush and the U.S. government&#39;s failure to supply immediate aid. However, two frequent interviewees (Phyllis Montana LeBlanc, apparently Lee&#39;s preferred heroine, and Dr. Michael Eric Dyson) and their annoying tones to take away from their respective accounts&#39; power. Their anger is understandable, but incessant sarcasm is not the way to gain an empathizing audience. All of the other contributors present eloquent tales of suffering and successfully convey their ire, including pompous celebrities like Kanye West. Rev. Al Sharpton is one of the most outspoken people in the U.S., yet his comments (still full of rage and vengeance) are some of the clearest and effective of the entire film. The most haunting moment by far is of longtime Lee collaborator Terence Blanchard walking down the streets of destruction playing "Just A Closer Walk With Thee" on his trumpet. Blanchard&#39;s own original music composed especially for the documentary ranks among his best work.In addition to Richard Linklater&#39;s Fast Food Nation, Lee&#39;s film is as important a view as An Inconvenient Truth. Many major fixable issues are currently prominent in our nation due to ignorance and a lack of conscience and it is a somewhat unfortunate sign of the times that it takes Hollywood filmmakers&#39; voices to beseech the masses. I am glad that people with such an audience use their gifts to raise awareness, but respective situations should never come to that. http://www.spout.com/blogs/spoutblog/archive/2007/7/19/15329.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/19/2007 6:00:31 PM
Body: Several blurbs of note to report in the documentary world this late Thursday: ***Anthony Kaufman has the news that Errol Morris is blogging for the New York Times. Kaufman interprets Morris' first entry--a long consideration of photography, truth, interpretation and meaning--as "a sneak peak into what I expect are the theoretical underpinnings" of Morris' upcoming Abu Ghraib doc, Standard Operating Procedure. ***This is not a TV blog, so we won't waste time making obscene hand gestures about most of the Emmy nominations. However, it's worth noting that Spike Lee's Hurricane Katrina doc When the Levees Broke picked up several nods, as did two recent festival hits: Rory Kennedy's Ghosts of Abu Ghraib, and Stanley Nelson's Jonestown: The Life and Death of the People's Temple. A.J. Schnack has further details. ***John Anderson has a review of Your Mommy Kills Animals, a doc on the animal protection debate which begins a one-week Oscar qualifying run today. Calling it "a miraculously evenhanded treatment of a snarlingly divisive debate," Anderson also notes that the film also makes "it pretty clear that blinkered self-righteousness and unwavering belief in one's cause don't much differ, whether you're a member of the Animal Liberation Front or Al Qaeda. The corollary question is whether anything less than the most militant action will move corporations away from committing cruelty to animals." Originally posted on:SpoutBlog
]]>Thu, 19 Jul 2007 22:00:31 GMTSpoutBlogSpoutBlog on spout.com7/19/2007 6:00:31 PMSeveral blurbs of note to report in the documentary world this late Thursday: ***Anthony Kaufman has the news that Errol Morris is blogging for the New York Times. Kaufman interprets Morris' first entry--a long consideration of photography, truth, interpretation and meaning--as "a sneak peak into what I expect are the theoretical underpinnings" of Morris' upcoming Abu Ghraib doc, Standard Operating Procedure. ***This is not a TV blog, so we won't waste time making obscene hand gestures about most of the Emmy nominations. However, it's worth noting that Spike Lee's Hurricane Katrina doc When the Levees Broke picked up several nods, as did two recent festival hits: Rory Kennedy's Ghosts of Abu Ghraib, and Stanley Nelson's Jonestown: The Life and Death of the People's Temple. A.J. Schnack has further details. ***John Anderson has a review of Your Mommy Kills Animals, a doc on the animal protection debate which begins a one-week Oscar qualifying run today. Calling it "a miraculously evenhanded treatment of a snarlingly divisive debate," Anderson also notes that the film also makes "it pretty clear that blinkered self-righteousness and unwavering belief in one's cause don't much differ, whether you're a member of the Animal Liberation Front or Al Qaeda. The corollary question is whether anything less than the most militant action will move corporations away from committing cruelty to animals." Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/death/MemberTagFilms.aspxdeath
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