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| SXSW '08 Interview: "They Killed Sister Dorothy" Director Daniel Junge |
by Erik Childress
The “They Killed Sister Dorothy" Pitch: An American nun’s shocking murder exposes the current battle for the rainforest.
How did this film get rolling at the beginning? Give us a brief history from writing to production to post to just last night.
DANIEL: I noticed an article in The New York Times on Sister Dorothy’s murder and immediately thought what a great film it would be. My producing partner Henry Ansbacher and I met David Stang, Sister Dorothy’s biological brother, who was heading to Brazil to find out the truth behind her murder. I realized his journey could be the practical path to making this dramatic story.
We made seven trips overall with him to Brazil. Three of the trips focused solely on the trials of the accused killers, which became the narrative spine of the film. Oscar-winning producer Nigel Noble came on board early in the production as did our Brazilian crew, and it was through their efforts that we were able to gain the trust of both sides of this contentious story.
Over nearly three years of production, we constantly edited and logged the footage we had. We sensed the timeliness of the film and the quick turnaround that would be necessary, and ultimately our official post-production was less than four months, ending...well…last night, in fact!
How did you get Martin Sheen involved in the narration?
DANIEL: Martin is known for his Catholicism as well as for his progressive activities, which have led to some arrests. Additionally we knew that he attended the same high school as Dorothy and had commissioned artwork in her memory. Based on this information, we thought he might be inclined to help us out. Obviously he did, and we are so grateful he participated in this project. His voice gives an added layer of gravitas to the film.
Back when you were a little kid, and you were asked that inevitable question, your answer would always be “When I grow up I want to be a …” what?
DANIEL: When I grew up I wanted to be a junkyard man, which I can’t really reconcile in the least with my current career choice as a documentary filmmaker. Both careers do involve collecting and repurposing material. The pay is probably pretty comparable too.
How did you get your real “start” in filmmaking?
DANIEL: In college I was fortunate enough to take a class from Sydney Pollack, who made the intangible act of making movies seem tangible. I started working in the film business and making my own shorts. Eventually, I made the leap to documentary features with CHIEFS, my first documentary about the Wyoming Indian High School basketball team. The film took two years to shoot, but it premiered at the 2002 Tribeca Film Festival, where it won best documentary and then was broadcast on PBS.
Is this your first trip to SXSW? Got any other film festival experience? If you’re a festival veteran, let us know your favorite and least-favorite parts of the ride.
DANIEL: This is my first time to SXSW, and I’ve heard so many great things about it. I’ve been fortunate to screen previous films at a number of festivals, including Toronto and Tribeca. Honestly, festivals are the highlight of my year. Showing your films to appreciative audiences, meeting other filmmakers, seeing other films…what could be better than that? I guess the only downside to festivals is that, while promoting your films is a really important part of the process, you start to become aware it occupies time you could be dedicating to the next project.
Do you feel any differently about your film now that you know it’s on “the festival circuit?
DANIEL: I’ve been so immersed in the completion of the film that I haven’t fully processed the fact it’s finally done, and I probably won’t until the first frame flickers in Austin. I’m looking forward to SXSW and (hopefully) many more festivals. These screenings are where you really learn what your film is, how it affects people, and what it means to them.
During production did you ever find yourself thinking ahead to film festivals, paying customers, good & bad reviews, etc?
DANIEL: To be frank, yes. The sad reality is thousands of feature-documentaries are made in our country every year, and the vast majority don’t see the light of day. I think that stems partly from a filmmaker’s belief that they are entitled to an audience by virtue of the importance of their subject. Generally, I try to be aware while shooting and cutting my films how each moment will resonate with an audience.
I would also add that this is our first film that part or all of the rights aren’t pre-sold, so this is a new experience for us. We are currently exploring options for the widest possible distribution for THEY KILLED SISTER DOROTHY, and we look forward to SXSW as a great start to that process.
While certainly passionate in his argument, it was a bit amusing to hear the defense attorney compare Sister Dorothy as a product of America's involvement in Iraq considering her "DNA" (as he calls it) dates back to WWII. But it struck me as an unfortunate reality of our government's post-9/11 decisions. Can we ever insert ourselves as ambassadors for change and assistance throughout the world ever again without believed to have an ulterior motive for our presence?
DANIEL: Sister Becky puts it succinctly when she says, “the insidious thing is about half of what he’s saying is true!” I think it’s reprehensible that our activities since 9-11 (and before that, in Latin America) make even the most benevolent actions of Americans overseas questionable.
As has been the case against missionaries throughout the world, their salvation in the name of God has been shown on certain occasions to come with a price. As this is part of the damnation of Sister Dorothy's actions (as preached by the defense and the accused), did you look any further into Dorothy's own history as a woman of God. After all, that wouldn't be something that should be ignored if there was any truth to it, right?
DANIEL: Actually, the people who opposed Dorothy clearly stated they had no problems if Dorothy and her fellow nuns had stayed within the confines of the church, praying the rosary. But the fact is, although her religious views helped justify her activities, Dorothy operated mostly within a secular realm. While we explored Dorothy’s religious background, we discovered that it was relevant mostly as a motivational factor. With the exception of her opening line in the film, Dorothy didn’t speak as much about God as about human dignity and the future of the planet. On the contrary, the ranchers and lawyers almost always talked about God.
Of all the Muppets, which one do you most relate to?
DANIEL: Cookie Monster. His single-mindedness and OCD are perfectly suited to documentary filmmaking.
If you could share one massive lesson that you learned while making this movie, what would it be?
DANIEL: It’s tough to find a salad in the Amazon. Seriously, it’s surprising and disheartening to see just how much of the Amazon is destroyed. Flying from Belem to where Dorothy was killed, it’s a patchwork quilt of what is predominantly no longer forest.
What films and filmmakers have acted as your inspirations, be they a lifelong love or a very specific scene composition?
DANIEL: Spike Lee’s “She’s Gotta Have It” and Steven Soderbergh’s “Sex Lies and Videotape” along with their accompanying “how-to” books influenced me greatly. Around the same time, Steve James’ “Hoop Dreams” showed me how the smallest stories can become bigger than life if given time to develop and the diligence to follow it. As Soderbergh says, “talent + perseverance = luck.”
Did you watch any movies in pre-production and yell “This! I want something JUST like this …only different.”?
DANIEL: Truthfully, no. What unfolded in front of the camera felt really unique to me. Although I’m sure there’s any number of films I’m subconsciously mimicking.
Is there a subject matter documentaries haven't covered to date that you would love to see made, if not tackle it yourself?
DANIEL: I come across about a dozen a day. That’s the problem, trying to figure out which one is worth the Herculean effort, from a standpoint of personal interest, possible audience, and need for awareness.
Finish this sentence: If I weren’t a filmmaker, I’d almost definitely be...
DANIEL: A lawyer. A good one. And more obnoxious than I already am.
Who’s an actor you’d kill to work with?
DANIEL: Robert Redford. Not only because I have so much respect for what he’s accomplished in the world of film, but because his involvement clearly brings a project a much higher recognition with the public.
Have you “made it” yet? If not, what would have to happen for you to be able to say “Yes, wow. I have totally made it!”
DANIEL: I used to believe there was an echelon of documentary filmmakers who could get funding for any idea they wished to do, and I aspired to be one of them. I have since learned that it’s a slog even for the most reputable filmmakers. Considering the fact I’ve been able to continue making films, by hook or crook, I suppose to some degree I have “made it.”
Honestly, how important are film critics nowadays?
DANIEL: I do think critics are still important, especially for documentaries. With today’s crowded media landscape, the documentary audience still looks for cues from respected critics to choose what they watch, although that’s lessening to some degree. Simultaneously, the impressions fo regular audience members is becoming amplified through sites like eFilmcritic, IMDB, iTunes, etc., which can be interesting and valuable for filmmakers. It should be mentioned that festival directors are now becoming some of the most important gate-keepers of independent film. A premiere at a respected festival (like SxSW) is in some ways more important or even a necessary precursor to a good review or audience feedback.
What would mean more to you? A full-on rave from an anonymous junketeer or an average, but critically constructive review from a respected print or online journalist?
DANIEL: It depends. Anonymous praise is really gratifying when heard collectively, but a single anonymous rave can be from someone who is just sympathetic to your subject matter…or from your cousin. Conversely, a single anonymous pan from someone opposed to your subject or an ex-girlfriend! A critical review—especially from someone who is known for being fair and tough—carries more legitimacy as a single voice.
What was the most striking thing you witnessed in the differences between our judicial system and the one depicted in the film? Is it something our legal system should adopt?
DANIEL: There were any number of things in the Brazilian justice system – having accused criminals act out the crime prior to trial, combative “face-offs” between the accused, the lack of legal precedents, and the overall theatricality of the courtroom (from what I can ascertain, there’s no such thing as perjury there!) – were incredibly interesting to me, but I wouldn’t want to be tried there!
One lesson we might learn, however, is their expedience. The murder trials we filmed were mercifully only two days in length, as opposed to the many-month circus in our courts.
What’s your take on the whole “a film by DIRECTOR” issue? Do you feel it’s tacky, because hundreds (or at least dozens) of people collaborate to make a film – or do you think it’s cool, because ultimately the director is the final word on pretty much everything?
DANIEL: I’m not a fan of the “a film by” title. “Director” already implies there is a clear vision at the center and ultimately the final word…beyond that, it’s a collaboration. In the case of “They Killed Sister Dorothy,” our Co-Producer Marcela Bourseau and our editor Davis Coombe would deserve “a film by” just as much as I do.
In closing, we ask you to convince the average movie-watcher to choose your film instead of the trillion other options they have. How do you do it?
DANIEL: Often film enthusiasts go to a theater with the choice: “do I want to see something timely and poignant, or do I want a nail-biting drama?” With THEY KILLED SISTER DOROTHY, they can have both.
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Daniel Junge's They Killed Sister Dorothy will have its world premiere at the 2008 South By Southwest Film Festival on Sunday, March 9 (1:45 PM) at the Austin Convention Center. It will screen again there on Monday, March 10 (1:30 PM) and Friday, March 14 (3:30 PM).
link directly to this feature at http://hollywoodbitchslap.com/feature.php?feature=2442
originally posted: 03/06/08 18:25:21
last updated: 03/06/08 18:28:40
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