Although I have driven past the Silent Movie Theatre a dozen times over the years, for the first time last night, I sauntered inside the doors to catch an entertaining IDA (International Documentary Association) panel discussion on the ability of the "lowly" documentary to - not only impact - but ultimately change the world.A celebrated gang of notables in the field engaged in an upbeat informative exchange of ideas which kept the rapt audience - comprised mostly of aspiring young filmmakers - on the edge of their seats.
The guests included Robert Kenner (the Director of "Food, Inc."), Cara Mertes (high-profile Sundance program rep), Jennifer Arnold (Director of "A Small Act), and Dennis Palmieri (Director of Communications @ ITVS).
The evening's festivities were ably monitored by Sara Hutchinson (Producer and co-founder of Good Gravy Entertainment).
The venue - a modest environ - has been a fixture on the West Coast scene since a golden heyday of filmmaking circa 1940's.
The interior is washed in warm golden tones, and trimmed in rich inviting chocolate hues , which frame a smattering of eye-catching publicity stills featuring a handful of movie legends of yesteryear (underscoring management's efforts to be mindful of their roots and the luminaries that have passed through the doors over the years).
Meanwhile, as the hosts prepared to kick off the event, a definite buzz permeated the packed house that was difficult to ignore.
The IDA event was the hottest ticket in town last evening in Hollywood!
IDA is a non-profit organization that supports documentary filmmaking worldwide and believes in the power and artistry of the documentary as an art form that is vital to cultures and societies globally.
Their mission is to provide the community with educational ton, special support services, opportunities, and related resources to clients and documentary filmmakers.
Sundance (an organization founded by Robert Redford originally) - on the other hand - promotes freedom of expression by providing financial support in the form of grants, a forum where concerned artists may throw a spotlight on a cause for social justice, and a podium where individuals may lobby for civil liberties and human rights.
A main thrust of Sundance is to encourage - and provide financial support - so that innovative non-fiction storytelling may take a foothold in the community-at-large.
During the course of the discussion last night, the filmmakers openly discussed their approach to their projects.
Food, Inc. Director - Robert Kenner - underscored that a doc often remained in flux.
Originally, he set out to produce an insider-look at aspects of the food industry, but ended up turning out a hard-hitting piece that focused more on human rights.
"When I attended a hearing on the state of the industry in this country today, I was shocked to learn that Corporations were in charge, not the farmers," he lamented in so many words.
After the head of one company stressed that it was not in the best interest of consumers to reveal the ugly truths about the production line, Kenner sat up and took notice.
"We were not welcomed with open arms. The food manufacturers tried to shut us out."
At that point, the insightful director uspected that something insiduous was going on.
This especially appeared to ring true, when he learned that fruits and vegetables were being plumped up with chemicals so they could go to market throughout the year (and not just during one season or two when the product was ripe for plucking off the vines).
I asked the filmmakers if they were ever tempted to strong-arm their position to get their arguments across to filmgoers.
The Sundance rep noted that her organization always followed the four ethics of journalism.
In some instances, funding at Sundance helped filmmakers round up documented evidence, now being used in Tribunals to bring perpetrators of crimes against Nations to Justice - and to effect - overall healing in the process (such as in the instant case of Enemies of the People).
I was quite surprised to hear that some funded projects are not published on their site, though.
In some specific instances, the subject matter (and issues raised) may be controversial, so there is a real threat that fillmmakers may be hunted down, and punishment exacted by unsavory characters working on behalf of evil regimes, dictatorships, and/or corrupt government officials who feel threatened, etc.
Kenner argued that telling both sides of the story - especially in respect to a controversial subject - was the best way to go.
Ultimately, all panelists agreed last evening, that the filmgoer was not dumb and was capable of seeing through the attempts at cover-ups, maniupulation, and so-forth-and-so-on.
However, they also fessed up that documentaries were - indeed - "works of passion".
Subsequently, movie-makings are - above all - bent on getting their POV (arguments) across to the public, special interest groups, and those affected thereby.
When it came to impact - the best way to judge a documentary in that regard - was at the box office (the Sundance employee concluded).
Food, Inc. has been exalted for having pulled off the near-impossible.
It landed in the top twenty in respect to box office receipts. Something unheard of previously for documentaries of that nature.
Ms. Arnold added that it was also important to line up "partners" early on in the process.
On one occasion, when she referred to the "backers" as part of the team, a handful scoffed at the notion.
"Well, they don't work for you. They're not employees. What I mean is, that in the outreach phase, you need a team to launch, distribute, and help you reach out and embrace the marketplace," she added in so many words.
Mr. Palmier's role was different, according to the ITVS exec.
"We come in at the end to help those who don't have the finances to promote the project, or the connections to get the documentary distributed in a meaninful way, in the manner it deserves."
Essentially, the panel discussion ended up becoming a "pep" talk - geared toward locating resources, outlets, and backers - to ensure that young hopefuls were able to get a foothold once their projects were either underway or ready to unveil to a targeted audiences, industry-insiders, etc.
The IDA gathering was quite a mellow affair overall.
One sponsor - Pithy Wine - provided three choice wines (Rose, Chablis & Dry Red) for guests to sip on as they mixed and mingled (snacked on imported cheese & gourmet crackers) and engaged in sparkling conversation with a posse of articulate guests who turned out in full-force for the enlightening event.
One more glass of the tasty wine, and I would have been in need of a tipsy tow, alright!
According to Jon Curry (Office Manager & Membership Services @ IDA) - the Silent Movie Theatre - has become a temporary home for their monthly events.
Interested parties should cruise on over to their web site, and sign on for the newsletter, in the event they wish to be apprised of upcoming events such as the thoroughly engaging one which unfolded last night in the trendy Fairfax District in West Holllywood.
Resources information and grant data is also available to peruse on the Sundance web site.
IDA
http://www.documentary.org/
Sundance
www.sundance.org/documentary
