Around the Block: Doug Block's Doc Blog

The Kids Grow Up world premiere

I'm finally able to announce that THE KIDS GROW UP (formerly ALMOST GONE) will have its’ world premiere next month at IDFA (International Documentary Film Festival Amsterdam), the largest and most prestigious of all documentary festivals. It’s playing in the Reflecting Images: Masters section, along with new or recent docs by, well, there’s no other term, masters such as D.A. Pennebaker & Chris Hegedus, Frederick Wiseman, Michael Moore, Joe Berlinger, Susan Froemke, Julien Temple and Michael Winterbottom. So it’s quite an honor and my hat size has swelled accordingly.

I’ll post the screening dates and times when they become available (on Nov 7th, we hear), but the festival itself runs from November 19th thru 29th. The huge international success of 51 BIRCH STREET was pretty much a direct result of our European premiere at IDFA in 2005, so it promises to be really exciting. Three of our four broadcasters are located in Europe (ZDF/Arte, Channel 4 and VPRO), and it will be helpful to talk over future projects in person with them there. And, if that weren’t enough, Lori and I are producers of another film that’s having its’ world premiere at IDFA: Amy Hardie’s THE EDGE OF DREAMING.  It’s an extraordinary personal documentary that’s screening in the competition for feature-length documentary, and I’ll be writing about it much more in the near future.

Mike Block (1920 - 2009)

My dad died this morning at the age of 89.  He'd been having a lot of health problems this past year and was really suffering, so in many ways it's a vast relief.  But the reality is still always shocking.

For those of you who have seen 51 Birch Street, you know what an amazing person this seemingly ordinary father of mine was.  He was amused and somewhat befuddled that audiences always responded so warmly to him.  He honestly didn't care what people thought of him, at least those outside his immediate circle of family and friends.  But he was hugely proud of me, both of my work and of the life I've carved out for myself. 

He'll be a big part of the next film, too, so I'm glad his legacy will live on far after his death.  What I hope shines through this time is something that took me a long time to recognize and acknowlege -- how proud I've been to have him for a father.

James Longley Detained in Iran

Acclaimed documentary filmmaker James Longley (Iraq in Fragments) has been living in Iran for much of the past two years as he painstakingly goes about making his next film.  He's recently been doing a bit of freelance work covering the recent Iran election. 

As one of the more active members of The D-Word, James has kept us frequently updated about the elections and its increasingly violent aftermath.  This morning he posted a harrowing account, which he and his Iranian translator would like to get out publicly.  He writes:

"About three hours ago I was interviewing people on the street in downtown Tehran with my translator, not far from the Ministry of Interior building.

There were some riot police about 100 meters away at the other end of the street.

A couple people spoke to the camera – one young woman was saying that "The riot police are beating people like animals. The situation here is very bad; we need the UN to come and help with a recount of the votes!"

At about that time a plain-clothes security guy started grabbing my arm, and together with several uniformed police they dragged me and my translator off to the Ministry of Interior building.

I fared much better than my translator, whom they punched and kicked in the groin. They ripped off his ID and snatched away both our cameras. A passing police officer sprayed my translator in the face with pepper spray, although he was already being marched along the pavement by three policemen.

Unfortunately my camera was still recording and the battery was dislodged in the hubbub, destroying the video file of the interview.

As we reached the Ministry of Interior building they separated us and dragged my translator by his arms across the floor and down a flight of stairs; he eventually regained his footing on the second two flights of stairs leading downward to the holding cell, where about twenty people who had already been grabbed off the streets were kneeling on the floor in the darkened room with their hands tied behind their backs.

All during this process my translator was being kicked and sworn at. The police told him how they "would put their dicks in his ass" and how "your mother/sister is a whore" and so on. At one point he was beaten with a belt buckle. At another moment, they beat him with a police truncheon across his back, leaving a nasty welt.

My translator kept on insisting that he was an officially authorized translator working with an American journalist – which is perfectly true.

At this time I was above ground, in the entrance to the ministry, yelling over and over at the police to "Bring me my translator!" It was clear that they didn't intend to beat me – although they may have wanted to – because I was a foreigner.

After a few minutes they relented and sent someone off to retrieve my translator from their holding cell, three floors down in the Ministry of Interior building.

They came into the holding cell and shouted "Where is the translator?!" and then, when he identified himself, they beat him again for "not telling them he was a translator."

An English-speaking riot policeman tried to sweet-talk me, saying that in a riot situation anything can happen. I might have taken him more seriously had a riot actually been taking place when we were arrested. He also asked my translator to convince me not to report what had happened.

Eyewitnesses are reporting that fully-credentialed foreign journalists are similarly being detained all over Tehran today. The deputy head of the Ministry of Guidance just told me on the phone that other journalists have also been beaten, and that the official permissions no longer work. Also, foreign journalist visas are not being extended, so all of those people who were allowed in to cover the elections are now being forced out in the messy aftermath.

All in all, it made me really question what I am doing in this country. It has become impossible to work as a journalist without the risk of physical violence from the government."

Almost Gone, a Sequel to 51 Birch Street, Screening at Indie Film Week

This coming Tuesday at Indie Film Week I'll be unveiling what I've been up to for the past, oh, 18 years or so. It's called Almost Gone and you might say it's a sequel to 51 Birch Street, although I think of it more as a companion piece. 51 Birch was about my parents. This time I'm the parent.

Forgive me for dipping into third person here, but it seems easier to describe it briefly by quoting the Indie Film Week catalogue description:

Filmmaker Doug Block has captured much of his daughter Lucy's life -- and their relationship -- on camera.  Now his only child is 17 and will soon be leaving home for college.  Lucy's imminent departure is the springboard for a funny and deeply moving look at fathers and daughters, modern-day parenting, marriage and the looming empty nest.

The film is pretty much fully shot and we hope to begin editing by November or December.  We're showing a ten-minute work-in-progress sample and it's only for select industry members.  Still, it's the first time this very personal footage is screening in front of a sizeable audience, so it's a big moment. 

I'm sure I'll be writing much more about Almost Gone here in the months ahead, but if you're planning to attend Indie Film Week (formerly known as the IFP Market), hope to see you Tuesday the 16th at 3:30pm (MicroCinema 1, Room 4). 

Latest Update On Andrew Berends

Folks, I can't stress enough, the situation is still extremely urgent!  As Andrew Berend's illegal detention in Nigeria enters its 6th day, doc filmmaker James Longley (Iraq in Fragments) has just posted an action alert over at The D-Word (where you can continue to get the latest updates).  I'm posting it here, as well, followed by the most recent press release.  For those who aren't familiar with Andy or his work, James has written a moving tribute to his longtime friend and colleague on a special HelpAndy blog.

**********ACTION ALERT************

We're close on our 6th day of Andrew's illegal detention by the State Security Services of Nigeria. He has still not been visited by a US consular official. They are not helping us. They say they are. But they are not.

Therefore, we are going to call up people and raise some hell.

When daylight working hours hit the East Coast of the US, we should be calling the State Department in DC:

• Andrew Silski is at the Nigeria desk:                202-647-0252        
• Stuart Denyer is in charge of the case in DC:                202-736-9163          

They apparently aren't doing anything for Andy, so it won't hurt to bother them.

WE WANT A US CONSULAR OFFICIAL ON THE GROUND WITH ANDREW BERENDS IN PORT HARCOURT. THEY NEED TO GET OFF THEIR BUTTS AND MAKE IT HAPPEN.

-----------

*In Nigeria, we can call the main consular line in Abuja  011 234 9461 4262
*and the main consular lines in Lagos:
Telephone: 011 234 1261 0050 or  011 234 1261 0078

Same thing. We attention paid to this issue. We want them to send someone to see Andrew. Accept no excuses. Take no prisoners.

************************************
FOR IMMEDIATE RELEASE

**********CONTAINS UPDATES**************

CONTACT Aaron Soffin,
Storyteller Productions
Phone: 917.887.4063 / 212.712.2781
Email: soffin@gmail.com

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Senator Charles Schumer calls American filmmaker's detainment by the Nigerian government "untenable"

NEW YORK, September 4, 2008 – Hearing of the arrest of Andrew Berends, an established, award-winning American filmmaker and journalist, Senator Charles Schumer, D-New York, responded with a letter on Wednesday to Secretary of State Condelezza Rice calling for Berends' immediate release.

"This situation is untenable," said Schumer. "Mr. Berends, an award-winning journalist was making a film about the Niger Delta, Nigeria's oil-producing area where government forces and armed separatists have been fighting for years. Unfortunately, it seems that the Nigerian government thinks that it can conceal the economic and ecological disaster in the region by harassing and intimidating foreign journalists. This is unacceptable."

Berends was arrested at approximately 6 pm on Sunday, August 31st, by the Nigerian military along with his translator, Samuel George. Andrew entered Nigeria legally in April 2008 to complete a documentary film.

At the time of his arrest Andrew Berends was filming women going to market at the Nembe waterside in Port Harcourt, a public place. Andrew received verbal permission to film in the area from the Sargeant in charge at the waterfront that day.

After Andrew's initial arrest by the Nigerian military, he was transferred first to the police and then to the State Security Services. He was interrogated by all three groups for 36 hours without access to legal representation, and without being allowed to eat or sleep. Andrew stated that the interrogation was coercive, and that all of his statements to the SSS were involuntary.

There has been no news of his translator, Samuel George, since Monday, and there is concern that he may be undergoing poor treatment at the hands of the Nigerian Government.

The State Security Services confiscated Andrew's personal belongings, including his passport, notebooks, camera, hard drives and laptop computer. Andrew remains under the custody of the Nigerian State Security Services.

Two-time Oscar-nominated documentary filmmaker James Longley, who has known Andrew Berends for the last 16 years and worked side by side with him on documentary films in Iraq, added: "Now that more information is available to the highest levels of the Nigerian government about Andrew's situation and the circumstances of his arrest, I am optimistic that this unfortunate matter will
be resolved immediately."

The US State Department continues to work on the situation, as does a private laywer retained on Andrew's behalf. Reporters without Borders and the Committee to Protect Journalists have issued statements condemning Andrew's arrest. We, Andrew's friends, family, and colleagues, are deeply concerned that he has been held without cause and are calling for the safe treatment and immediate release of Andrew Berends and Samuel George.

"Of course I am devastated by what my son is going through," Polly Berends, Andrew's mother said. "I'm terribly worried about him, and want him home as soon as possible. Throughout childhood and adolescence in Hastings-on-Hudson, Andy was always passionate about fairness. His work as a filmmaker reflects the same dedication. His films reveal untold stories of injustice objectively, letting facts speak vividly for themselves. I am hugely proud of him. I am also profoundly grateful for all the people working to get him released, and for the efforts of Senator (Hillary Rodham) Clinton's and Senator Schumer's offices on his behalf."

Doc Filmmaker Andrew Berends Arrested in Nigeria

Our friend, colleage and fellow D-Word member, Andrew Berends, has been detained by the Nigerian police while shooting his latest documentary there.   We've set up a special topic on The D-Word (open to the public) to update everyone about the situation and to organize in getting the word out to the media and high-level government officials, both U.S. and Nigerian.   

Thom Powers, writing on his Toronto Film Festival doc blog, put it well: ""Berends directed two memorable documentaries in Iraq, Blood of My Brothers and When Adnan Comes Home that screened widely on the festival circuit. Those films drew their power from Berends operating independently without being embedded with officials or beholden to a larger news organization that rarely allows his style of long form storytelling. Unfortunately, that style of working also comes with extra risk without the support of a larger organization." 

Please help spread the word in any way you can.  Here's the official press release we've been sending out, feel free to forward it whoever you think may be interested.  Or you can contact Aaron Soffin, who along with filmmaker James Longley (Iraq in Fragments), has been spearheading our efforts.
 
CONTACT
Aaron Soffin, Storyteller Productions
Phone: 917.887.4063 / 212.712.2781
Email: soffin@gmail.com

American documentary filmmaker detained in Port Harcourt, Nigeria

NEW YORK, September 2, 2008 – Andrew Berends, an established, award-winning American filmmaker and journalist from New York, was detained Sunday August 31st by the Nigerian military along with his translator, Samuel George, and Joe Bussio, the manager of a local bar. Andrew entered Nigeria legally in April 2008 to complete a documentary film.

Andrew was held in custody without food, sleep, or representation, and with limited water for 36 hours. He was questioned by the army, the police, and the State Security Services in Port Harcourt. He was then temporarily released, with an order to the SSS office at 9AM Tuesday morning. The State Security Services has confiscated his passport and personal property. Andrew's translator, Samuel George, remained in custody over night.

The US State Department is aware of the situation, and an attorney has been retained on Andrew's behalf. We, Andrew's friends, family, and colleagues, are deeply concerned that he has been held without cause and are calling for his safe treatment and immediate release.

Meet the Staff of ITVS - This Week on The D-Word

Today is the 4th day of our 5-day online discussion on The D-Word with key staffers from the Independent Television Service (ITVS).  It's a rare opportunity for doc makers to get their questions answered and glean insights into the submission and decision-making process of one of the biggest funders around (and not just for U.S. projects).

We've been extremely impressed by the generosity and candor of our special guests: Joy-Marie Scott - Programming Coordinator, ITVS International; Cynthia Kane - Programming Mngr, ITVS International; Karim Ahmad - Programming Coordinator for Open Call; and Kathryn Washington - Programming Manager for Diversity Development Fund.

The discussion will remain archived on The D-Word, but if you have specific questions to ask then get your virtual butt over there by Friday afternoon.

Speaking of archived discussions, one of our best took place in 2003 with St. Clair Bourne on The Art of the Historical Documentary.  We were all shocked and deeply saddened to hear of St. Clair's recent passing.  It's a huge loss for the global documentary community.

A WALK INTO THE SEA - Opens in Theaters on Friday

Well, opens in a theater on Friday.  Like, one (the Cinema Village in Manhattan). 

The distributor's strategy (Arthouse Films) is to release the film small, spend as little as possible and see how it goes before opening in a few more major cities.  And I think it's a smart one.

The whole idea with theatrical these days is to somehow make a blip on the public and industry radar without losing your shirt.  A tough proposition when 13 other films are opening in NY on the same day.

So, we're taking our chances on getting great reviews (which has been the trend) and beseeching our NYC-area friends and colleagues to please, please, PRETTY PLEASE come out to see it on the big screen this first weekend.

Esther and I, along with much of the rest of the production team (and probably some of the Factory gang, as well) will be at the 7:20pm showing on Friday.  Hope to see you there, too.  But if not, do us (and yourself) a favor and catch one of the other shows this weekend.  You won't regret it, I promise you.

A Walk Into the Sea: Danny Williams and the Warhol Factory - Directed by Esther Robinson.  Showtimes: 1:25, 3:20, 5:20, 7:20, 9:20 daily.  At the Cinema Village: 22 E. 12 St, NYC.

The Ten Rules of Personal Documentary Filmmaking - Rule #10

In looking back over my first 9 rules, I realize I sometimes sound as cranky and negative about personal docs as some of their fiercest critics, and I don't mean to be.  I prefer to think of it as tough love, or like being hardest on those you love most.

The awful truth is, I think personal documentaries are the realm where the most exciting, innovative and powerful work in all of cinema is happening these days.  It's why I'm currently working on a sequel to 51 Birch Street, and why I find it so hard to resist getting involved when truly special projects like Esther's come along.  If I've focused more on the potential pitfalls of turning the lens of a camera around on your life, it's only because I want to be blown away if I see your film on the big screen. 

On that front, I hope my last rule will leave you with a wee bit of encouragement.

Rule #10: Trust your story.

Trust that your story is unique, even though you might fret it's just about your boring old family.

Trust that your story is universal, so long as you tell it as specifically as you can.

Trust that your story is compelling, and approach it with a rigorous eye for its inherent drama.

Trust your story and stop worrying so much about how you're coming across, or whether you'll be rewarded or crucified by critics.

For all I've written about how audiences come to first-person docs with a built-in resistance, it's not like they can't be quickly won over.  When the lights go out, everyone is hoping for a story they can get deeply absorbed in and make a profound connection with.   

So trust your story, and knock us all out with that personal documentary of yours. 

The Ten Rules of Personal Documentary Filmmaking - Rule #9

When it comes to making personal docs, you can run but you can't hide.  Whether you choose to be onscreen or not, narrate or not, there's no escaping the fact that you are in it.  This is a high-risk endeavor and not for the faint of heart.  In fact, the success of your film is often directly proportional to your willingness to put your neck squarely on the chopping block.

But if you follow this next rule you can breathe a little easier.  Because...

Rule #9: You're not really you.  You're just a character in a story.

First-person documentaries are no different from other movies in terms of audience expectations.  Some moviegoers seek out films that bust genre conventions or play with the form, but most just want to lose themselves in a good story. 

So, unless you're a pure experimental filmmaker, your task as a director is to stand at a remove, let go of your ego and work through your arc as the story's protagonist or driving force.  The arc may be small or subtle, but it's always there.  Your character begins at point A, and whether you end up at point D, G, P or Z, there's inevitably a movement towards discovery and growth through the course of the film.

It may seem impossibly daunting to maintain that kind of distance and objectivity.  But I think it's actually liberating.  If your focus is on character growth, you'll feel far more free to show yourself behaving badly at times (which, as I've discussed, is usually a good thing).  And hopefully far less inclined to wallow in self-indulgence.