{"id":1029,"date":"2010-11-01T17:50:10","date_gmt":"2010-11-02T01:50:10","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=1029"},"modified":"2014-05-29T21:59:12","modified_gmt":"2014-05-29T21:59:12","slug":"school-daze","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/school-daze\/","title":{"rendered":"School Daze"},"content":{"rendered":"

V\u00e9rit\u00e9 pros Bob Richman and Erich Roland reteam with Davis Guggenheim for a new documentary about the past, present and future of public education<\/strong><\/p>\n

<\/p>\n

Full disclosure: I saw Waiting for Superman<\/em>, a nonfiction feature that traces the journeys of five diverse American children through the nation\u2019s collapsing public school system, with my mother-in-law, a retired educator who once taught in one of the most highly rated elementary schools in the Los Angeles Unified School District. <\/strong>The screening came six weeks before our 5-year-old son would enter kindergarten – listed 35th on a 72-family waiting list for our school of choice. At the time, I had no idea if we\u2019d be adding on the cost of another house payment for a private education, or handing our boy over to a school in one of the same massive and dysfunctional bureaucracies so expertly depicted in Davis Guggenheim\u2019s film. In other words, I was not an unbiased audience member, and I left Waiting for Superman<\/em>, shattered, angry and wanting to somehow affect what fate had in store for our family.<\/p>\n

This is, no doubt, the kind of response the filmmakers wanted. Working again with his self-described \u201cgo-to\u201d DPs, Bob Richman and Erich Roland (It Might Get Loud<\/em>), Guggenheim clearly loves making interactive cinema. An Inconvenient Truth, led by Richman\u2019s elegiac footage of Al Gore at home on his Tennessee farm, won the 2007 Academy Award for Best Feature Documentary, and helped ignite a groundswell of interest in environmental stewardship. Waiting for Superman<\/em> takes on a similarly themed national debate \u2013 the future of public education – however, the dexterity with which a failing political machine is juxtaposed with the lives of individual students is something that feels brand new in the documentary format.<\/p>\n

\"\"<\/p>\n

Anthony, Francisco, Bianca, Daisy, and Emily are, ostensibly, just statistics, potential victims of \u201cdrop-out factories\u201d that prohibit millions of American children from reaching their academic potential every year. But when Guggenheim\u2019s cameras journey with each child on their quest to enter charter schools, the stakes become infinitely higher, particularly when stacked up alongside interviews with educators like Geoffrey Canada (whose Harlem Children\u2019s Zone is being replicated by the Obama Administration in dozens of other American cities), and Washington D.C. Public School Chancellor Michelle Rhee, whose radical overhaul of the nation\u2019s worst school district included the firing of several hundred teachers and the closing of 24 under-performing schools. Both story threads \u2013 the personal and political – are underscored by an engaging use of animation (done by Sean Donnelly\u2019s small Brooklyn-based shop Awesome + Modest) that reveal some truly frightening statistics on American education \u2013 70 percent of 8th grade students can\u2019t read at grade level and will never catch up; 1.2 million students drop out of high school each year; public school dropouts cost the nation more than $300 billion in lost wages, taxes and productivity; and on and on it goes.<\/p>\n

The numbers aren\u2019t the only scary stuff in this first-ever educational horror film. There\u2019s also archival footage, taken from a student\u2019s backpack in the 1990s, of a teacher, feet up on his desk reading a newspaper while his students shoot dice in the back. Then there is a \u201crubber room,\u201d somewhere in New York City, where hopelessly unqualified and ineffective teachers go to bone up on their skills, i.e., they sit around reading newspapers for eight hours while still collecting a paycheck.<\/p>\n

Blunt-force images to be sure, but the emotional core of Waiting for Superman<\/em> is really the v\u00e9rit\u00e9 footage of the children Guggenheim follows. They come from different backgrounds and cities \u2013 Harlem, East L.A., San Bruno, and Washington, D.C. \u2013 and have varying support structures: single mother working two jobs, grandmother with no parents around, affluent suburban family, etc. What they all share are fates that will be decided by public lotteries, which the movie builds precipitously towards these events, when the audience\u2019s investment in each character is at its peak.<\/p>\n

\u201cWe had other great shooters (including 1st AC Logan Schneider) on this movie,\u201d describes producer Lesley Chilcott. \u201cBut it was either Bob or Erich, or both of them, who were at the lotteries. They\u2019re both so intuitive. I could completely trust Bob to follow Maria (Francisco\u2019s mom) as she walked over to the corner, or Erich would be following Nakia (Bianca\u2019s mom). It takes an extra special talent to get those special moments from a live event where you don\u2019t know what\u2019s going to happen!<\/p>\n

\u201cWe used four cameras on this show,\u201d she adds. \u201cThere were two 720p (Panasonic) VariCams, because we knew we\u2019d have a lot of stock footage \u2013 it turned out to be 22 minutes worth \u2013 to intercut. The newer 1080p cameras show everything, so when Erich or Bob are tight on a kid finding out the lottery results, the older VariCam would provide a softer look that doesn\u2019t feel hyper-real. Also the 720p filmed out really nicely.\u201d<\/p>\n

In addition to the tape-based VariCams, the WFS team used two Sony PMW-EX3s that Chilcott calls \u201cincredibly forgiving\u201d in low light. \u201cMaria, for example, comes out of the subway into sunlight, and then back into this huge stadium lottery, and the EX3 was perfect for those situations,\u201d she adds. \u201cAnd even though the EX3 captures at 1080p, Erich shot a lot of the (B-roll) at high speed, so in the end we\u2019d be at 720p.\u201d<\/p>\n

\"\"<\/p>\n

The producer, who cut her teeth in live television, like MTV\u2019s video music awards, says such events \u201cpale in comparison to a truly live event like a public lottery, where we not only had no lighting control or potential for retakes, but the futures of these kids you\u2019ve been following for six months were literally on the line. It was the most stressful thing I\u2019ve ever encountered, for so many reasons. Not the least of which is you wish you could somehow affect the outcomes and make sure everyone gets picked!\u201d<\/p>\n

And the lottery scenes were hardly a uniform bunch. They ranged from 10 kids and their parents, sitting outside on folding chairs in the California sunshine, to thousands inside a New York City arena. The only saving grace was the shooters knew their subjects\u2019 entry and seating paths in advance.<\/p>\n

\u201cI always showed up the day before to stake out our camera positions,\u201d Chilcott grins – no small trick given the Harlem Success Academy lottery, held at The Armory in Manhattan, had 3,000 people and 12 other production crews.<\/p>\n

\u201cThat was such a crazy day,\u201d Richman recalls. \u201cWe had three to four cameras, and there were at least two crews that had been making movies on charter schools, along with 20\/20 and many other local media outlets. It was a massive space, but since we all had different subjects we were covering, we respected each other\u2019s turf.\u201d<\/p>\n

Richman calls such spontaneous, yet drawn out, real-life situations extremely challenging, even for a seasoned nonfiction DP. \u201cIt\u2019s very difficult when you have no idea when (or if) they\u2019re going to be called,\u201d he adds. \u201cYou sit and wait to catch that perfect moment. But it can happen so fast, you end up being in a constant state of readiness, even as you\u2019re sitting and waiting.\u201d<\/p>\n

Roland, who shot the SEED School of Washington, D.C., lottery, featuring the film\u2019s main subject, Anthony, says that \u201ceven with Lesley on radio trying to direct things, no one really knew what was going to happen, and I was flying by the seat of my pants just praying I didn\u2019t miss that magic moment.\u201d [He didn\u2019t.] The DP says he was able to go back and piece the puzzle together from that day. Cutaways of balls tumbling down their chutes, hands picking up the balls, the numbers of each child being seen in close-up, became vital visual tools to build the scene out. \u201cBut the v\u00e9rit\u00e9 stuff can\u2019t be re-created,\u201d Roland insists, \u201cso there\u2019s a lot of pressure to stay on that character all the time.\u201d<\/p>\n

Anthony, a quiet kid who lives with his grandmother, is the first story to fill the screen, and Roland said he was unsure how important a role it would play. \u201cThe scenes in his grandmother\u2019s kitchen were so challenging,\u201d Roland laughs. \u201cIt was tiny with terrible light and you couldn\u2019t even turn around without hitting a wall. There was nowhere to hide the gear, so the four or five times we were there I had to let go of how compromised I was photographically and just follow the story. That\u2019s really the key to so many documentary situations.\u201d<\/p>\n

\"\"<\/p>\n

Roland says that while many of the lottery moments were emotional and heartbreaking, his role as a cameraman did not cross over into exploitation. \u201cThat\u2019s never been an issue for me,\u201d he explains. \u201cMy job is to stay right there with these people and keep the camera rolling so that the world gets to see and hear their stories. Without movies like this, many people would never know about the Anthonys or Biancas of this world. And whether the brass ring slips through their parents\u2019 fingers or their hopes and dreams are realized by getting into that one all-important school, we\u2019re there to let you feel their journeys. If anything I saw (the lottery scenes) as exploitation in a good way. You want to wrap (the subjects) up in your arms, give them a hug, and let them know everything is going to be okay!\u201d<\/p>\n

Both cinematographers describe their creative process with Guggenheim as unprecedented, even within their many other nonfiction films. \u201cWe\u2019re on our fourth project,\u201d Roland laughs, \u201cand I still have trouble putting into words how we sync up so well. For me, the connection deepens with each film. For example, this film could not have been the movie it was without It Might Get Loud<\/em> coming before.\u201d<\/p>\n

Roland goes on to call the relationship \u201cempowering.\u201d<\/p>\n

\u201cIt just feels so good to know that the people calling the shots have total creative trust in you going into an important scene,\u201d he continues. \u201cI can let my own instincts take off and not second guess my choices. That\u2019s key on a film like (Waiting for Superman<\/em>), where every moment felt so intense for these families. It\u2019s really when filmmaking is working at its best.\u201d<\/p>\n

Richman sees the give-and-take differently. \u201cOn the surface,\u201d he reflects, \u201cDavis and I come at (the nonfiction format) from different perspectives. I\u2019m always looking for the intimate v\u00e9rit\u00e9 moment and (Davis) is often matching powerful voice-over (interviews and narration) with strong visuals. That\u2019s why he likes using the VariCam for the more cinematic (insert footage). Where we come together is on the minimalist approach to impacting the subjects and their environment. Like that scene with (Bianca) looking out of the window (and watching her own graduation ceremony), Davis sort of predicted it would happen and told me to look out for it, even though he wasn\u2019t there that day.\u201d<\/p>\n

The moment Richman calls \u201ctechnically not very great\u201d is also one of the most indelible. As Nakia talks about her daughter not being able to attend her own Catholic school graduation (Nakia is delinquent in the private school fees despite working overtime), the little girl thrusts her head out the window to watch her peers parade inside.<\/p>\n

\"\"<\/p>\n

\u201cThe apartment was small and dark and I was shooting her mother wide open,\u201d Richman recounts. \u201cSuddenly (Bianca) sticks her head outside and I had to move over and jam the f-stop down to compensate for the four-stop overexposure, and nearly missed the moment. I knew the conditions were far from ideal. But, in the end, it\u2019s more about empathizing with the character then imposing your ideas as a DP, and Davis gets that. He said I put up too many lights on this film, and I maybe put up one or two!\u201d<\/p>\n

Of the movie\u2019s most charismatic voice, Geoffrey Canada (who provides the film\u2019s title, explaining that he was devastated upon finding out no superhero was going to rescue his South Bronx neighborhood), Richman says he, like Guggenheim, had no idea what was in store.<\/p>\n

\u201cThat interview was one of the first things I did, and it turned out to be mind-boggling,\u201d Richman continues. \u201cMany people lock the shot off (for interviews), but I like to have the camera move in response to the subject. When I\u2019m moving in physically, it\u2019s because I\u2019m moving in emotionally. You can tell by the speech cadence when something important is coming. And listening to Geoffrey Canada was filled with those kinds of moments. Some people see that as manipulation, but the camera is the surrogate eye of the viewer and that\u2019s a subjective thing.\u201d<\/p>\n

Roland, who shot all the interview footage with Rhee, says tilt-shift lenses were used thematically early on, and then later discarded. \u201cSome of that pinpoint focus-within-the-frame was used on the B-roll at the schools \u2013 hallways, following kids walking, etc.,\u201d Roland notes, \u201cand it\u2019s beautiful, cinematic stuff. I love that Davis is so keen on visualizing a story\u2019s subtext. He\u2019s unafraid to find stylized departures, and I really see it as my job to look for and take advantage of those possibilities.\u201d<\/p>\n

As for shooting Rhee, who\u2019s become a lightning rod for the education debate, Roland says he knew what he was in for. \u201cIt was early in the process,\u201d he recounts, \u201cand there was a lot of pressure because we had such limited time \u2013 she\u2019s probably the busiest person I\u2019ve ever met, let alone filmed.\u201d In fact, Rhee had so many Blackberries (three) going at once, Roland had to plead to have her turn them all off to get some B-roll in the backseat of her limo. \u201cShe could not put down her devices, even with a camera crew in the car,\u201d Roland says, \u201cso it really feels like the weight of the world is just bearing down so hard in those scenes. As for us, we all knew what was at stake with those interviews, and it just felt like our time was always slipping away.\u201d<\/p>\n

With Waiting for Superman<\/em> just one of four public education documentary films coming out in 2010, the timeframe to fix our nation\u2019s schools appears to have been accelerated in the minds of all voting Americans, as well.<\/p>\n

\u201cThe difference between this issue and something like global warning,\u201d Chilcott concludes, \u201cis that this feels imminently solvable. It doesn\u2019t require international cooperation. As Jonathan Alter says in our movie, \u2018We now know what works.\u2019 All the studies show the quality of the teachers is what ultimately matters. And if education is ground zero for most of society\u2019s problems, how can we have neglected the fact that teaching is one of the most important jobs you can have, and that school is one of the most important times of your life. It seems so intuitive, and yet I often sit and wonder: \u2018How can we have missed this!\u2019\u201d<\/p>\n

\u00a0By David Geffner \/ photos courtesy of Paramount Vantage<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

V\u00e9rit\u00e9 pros Bob Richman and Erich Roland reteam with Davis Guggenheim for a new documentary about the past, present and future of public education<\/p>\n","protected":false},"author":1,"featured_media":3564,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[147,149,148,150],"class_list":["post-1029","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-bob-richman","tag-davis-guggenheim","tag-erich-roland","tag-waiting-for-superman-cinematography"],"acf":[],"yoast_head":"\nSchool Daze - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/school-daze\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"School Daze - 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