{"id":1182,"date":"2011-02-03T11:24:17","date_gmt":"2011-02-03T11:24:17","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=1182"},"modified":"2014-06-05T17:42:57","modified_gmt":"2014-06-05T17:42:57","slug":"exposure-davis-guggenheim","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/exposure-davis-guggenheim\/","title":{"rendered":"Davis Guggenheim \u2013 Waiting for Superman"},"content":{"rendered":"

If you think you know filmmaker Davis Guggenheim by his many episodic TV credits or iconic last name, you\u2019ve missed most of his story. Raised on social justice documentaries by his father, Charles Guggenheim, whose first Oscar-winning film, Nine From Little Rock<\/em>, explored \u201860s era school desegregation, and whose second Academy Award-winner, Robert Kennedy Remembered<\/em>, paid tribute to America\u2019s greatest public education statesman, Davis Guggenheim\u2019s first and best passion is nonfiction filmmaking, and the opportunity it gives him to \u201cbe a part of something much bigger than yourself.\u201d His 2007 Oscar-winning documentary, An Inconvenient Truth<\/em>, placed climate change front and center in the national debate. And with his new documentary, Waiting for Superman<\/em>, which won the Audience Award at the 2010 Sundance Film Festival, Guggenheim has again tapped into the national zeitgeist, exploring America\u2019s failed public school system through the eyes of five different children whose futures literally depend on a tumbling ball in a lottery basket. As evident by the conversation below, Guggenheim, much like his father, truly believes in moviemaking as a transformative medium. In that respect, Waiting for Superman<\/em> is his chalkboard and the educators who come before his cameras are textbook examples of how to change our troubled world.<\/p>\n

ICG: An Inconvenient Truth<\/em>, It Might Get Loud<\/em>, and now Waiting for Superman<\/em>, are all quite cinematic. Where does that approach to nonfiction filmmaking come from? <\/strong>Davis Guggenheim: I\u2019m dyslexic, and was a C-minus student, at best. So I relate to the world visually. One of the breakthrough moments in this film, in fact the reason I agreed to do it after originally saying no (to Participant Media), was driving my kids past all these public schools each morning on their way to a great private school. That visual, which begins the film, came before anything else. As did the montage that followed of preparing our kids to go to school each morning \u2013 that leap of faith we as parents all take of handing your kids over to someone else is emotional, and I wanted to express that visually. The other part of that, of course, is working with great cinematographers who can help me express these ideas as cinema.<\/p>\n

You\u2019ve worked with Erich (Roland) on your last film, It Might Get Loud<\/em>, and with Bob (Richman) on An Inconvenient Truth<\/em>. Why? <\/strong>Erich and Bob are my go-to guys and I call them whenever I can. Checco Varese, whom I\u2019ve worked with in episodic TV, shot some of the beginning footage (for Waiting for Superman<\/em>) and he\u2019s another great collaborator. I\u2019d say Bob and Erich are the best v\u00e9rit\u00e9 shooters in the industry. It\u2019s a special skill, and their ability to listen to the characters is amazing. Both of them were placed in situations (on Waiting for Superman) where I couldn\u2019t be there, so their contributions were central to telling this story.<\/p>\n

As go-to guys you mean you share the same visual aesthetic? <\/strong>Oh yeah. When you have to talk about what you want, it\u2019s rarely good. (Laughs.) I can say a few words, like \u2018This is Anthony. Today he\u2019s looking at a new school,\u2019 and Erich, who shot that sequence knew exactly how to do it in an emotional and cinematic way. The same thing goes for working with Bob. They just get it.<\/p>\n

Using DP\u2019s with a strong sense of cinema sort of runs counter to conventional wisdom that documentaries are always \u2018found\u2019 in the editing room.<\/strong> Right. The old school way was to write a concept, get the money, shoot everything, and then put it all together. But during An Inconvenient Truth<\/em>, I realized I could shoot, edit, and write throughout the process. In fact, I am continually pulling words out of my movies to let the visuals drive the storytelling. I think that works because documentaries are much more emotional than they were in the 1960s or \u201870s; audiences are more comfortable with seeing something that looks like a narrative film.<\/p>\n

Your father, Charles Guggenheim, won three Oscars for his social documentaries, and was nominated for six more. You\u2019ve been around the genre a long time. <\/strong>I learned pretty much everything about filmmaking from him \u2013 tone, pacing and storytelling. I remember taking my first documentary film course at NYU as a freshman in 1983, and when they talked about there being no such thing as an \u2018objective\u2019 documentary, I was blown away! I grew up on my father\u2019s films, and others of that era, thinking documentaries were the truth. Period. (Laughs.)<\/p>\n

How has that notion changed? <\/strong>Maintaining objectivity in a nonfiction film is now an old argument because audiences know the minute you turn on the camera it\u2019s subjective. The way I would describe the relationship between the filmmaker and the audience now is one of trust. I\u2019m asking you to go on this ride with me and accept that what I say is true to the spirit of the story, if not the literal truth of the events as they transpired. The audience can reject that trust, of course, and that happens.<\/p>\n

The ending coda of Waiting for Superman<\/em>, when we see the five kids you\u2019ve been following around – Anthony, Francisco, Bianca, Daisy and Emily – learn their fates at the different school lotteries is astounding. <\/strong>My producer and filmmaking partner, Lesley Chilcott, will tell you those scenes were all about divide and conquer because (the lotteries) all happened at roughly the same time. We had to use multiple crews at multiple locations around the country. Of course, we chose each student we followed because we knew they would be in a lottery. So we\u2019re calling each other on cell phones asking: \u2018Did Francisco get in? Did Anthony get in?\u2019 We desperately wanted them all to get in. And each lottery was different. The law only requires a public lottery, so some used computers, others Bingo balls. Trying to get a camera position at that precise moment the kids found out was very challenging.<\/p>\n

The statistics revealed about public education are shocking. Yet you dole those out through a clever and engaging use of animation. <\/strong>If you had asked me before An Inconvenient Truth<\/em> if you can put heavy graphics and animation in a documentary and make it compelling, I would have said no. But we had all this information in Al Gore\u2019s slide show and we realized that, used properly, animation was a great way of helping that information advance the story. I saw with this film how effective it was to cut from a kid in D.C. who has problems with his (under-performing) school to a chart of national reading levels. It\u2019s the equivalent of a camera zoom in\/zoom out \u2013 going from the macro to the micro. Everyone thinks, in a documentary, you either do the intimate story or the big-issue politics, but never both. But I\u2019m finding it\u2019s powerful to go back and forth. I haven\u2019t seen others do this and I would not have imagined myself doing it had I not done it on An Inconvenient Truth<\/em>.<\/p>\n

As you mentioned, the movie begins with your voice-over as you are driving your own children past your local public schools to a private school. Are parents who run away from our public schools part of the problem? <\/strong>You\u2019re part of the problem if you\u2019re not doing everything you can to help fix the system. Having said that, parents are always going to put their kids first \u2013 the bear protects its cubs. I\u2019ve seen this happen with educators who spent their lives in the public school system, and are now sending their kids to private schools. I asked them, \u2018Should I feel guilty?\u2019 And they say, \u2018No! Your kid\u2019s going a great school.\u2019 My mantra (on this film) was that if I could get people to care as much about other people\u2019s kids as I do, the schools can be fixed. I dream about my local public school being up to snuff but it\u2019s not. And yet, I could not drive by it every day without feeling compelled to do something.<\/p>\n

What do you say to people who call you Chicken Little? Making films about these big, amorphous issues, where the sky is (literally) falling? <\/strong>(Laughs.) Well, if anything, the climate crisis is even worse than when we made An Inconvenient Truth<\/em>, despite all the noise you may hear. In fact, we were moderate, not alarmist, as Al Gore was very careful with everything we put in. I wish I were being alarmist about our schools. But I\u2019ve spent the last two years studying them and they\u2019re worse than I thought. Our schools are failing millions of kids every day and no one is really arguing the point \u2013 Republicans and Democrats alike. They might criticize me for other reasons, but I don\u2019t think they\u2019ll call me Chicken Little. (Laughs.)<\/p>\n

Did you know going in that (Washington D.C. superintendent) Michelle Rhee and (charter school activist) Geoffrey Canada would become such major characters? <\/strong>I had no idea, actually. A friend told me Geoffrey Canada had an amazing school but I didn\u2019t think he would become a central figure in the movie. His was the most productive interview I\u2019ve ever done and he just dominated the editing room. As a filmmaker, you follow the people who are speaking to you. I had a similar reaction to Michelle Rhee.<\/p>\n

Sounds a bit like characters taking over a novel or screenplay. <\/strong>Very much so. One of the most important things about a documentary is listening to what\u2019s in front of you. There\u2019s no real discovery to starting with a fixed premise and finding the pieces that fit. If you truly immerse yourself in a topic, it will change you. I\u2019m a different person than when I started (Waiting for Superman<\/em>) two years ago.<\/p>\n

We won\u2019t give away the ending but suffice to say it\u2019s bittersweet. <\/strong>I didn\u2019t realize it would be so cut and dry, that is, getting into one school means having a future and pursuing your dream, and another school means the odds are hopelessly against you. The stakes are that high. But making the movie has made me more hopeful. Guys like Geoffrey Canada and the KIPP (Knowledge is Power Program) schools have proven that even kids in the worst situations can learn and achieve. If just one person sees this movie and decides to become a teacher, or start a school, or change their neighborhood school \u2013 those things happen when you make a documentary. I\u2019ve seen it. And it\u2019s pretty exciting.<\/p>\n

This is your second journey into public education. You show clips from your first documentary, made ten years ago. How have things changed? <\/strong>In my first film, there wasn\u2019t a sense that anything was possible. The teachers were talented people with the best of intentions, but no matter what, the system was going to crush them. Now that others have proven (change) is possible, inspired people will move into this field and transform our schools. I really believe it. No one thought the sound barrier could be broken until Chuck Yeager did it. Then in the years after, a hundred more like him went up into the sky.<\/p>\n

You\u2019re obviously passionate that movies can make a difference. <\/strong>I\u2019ve seen it firsthand. I grew up watching my father\u2019s great social justice films make a difference. I was part of An Inconvenient Truth<\/em> as it changed people\u2019s lives. Even with the recent swing in the negative direction, I saw that movie change people, corporations and behaviors. Films do not write policy or teach your children. But they can inspire people to do both those things. And, much like on An Inconvenient Truth<\/em>, it feels like this issue is in the air. The Obama Administration\u2019s new Race to the Top program, the new laws in Colorado about tenure and merit pay, a new contract in the D.C. school district \u2013 why can\u2019t films be a catalyst for helping to push things in the right direction?<\/p>\n

You mentioned you were not a good student. <\/strong>I was at the bottom of my class! But, luckily, I had a few great teachers who said, \u2018You are not dumb, you have something to say and contribute to the world.\u2019 Now I\u2019m a productive citizen because of them. There\u2019s no doubt that without the handful of inspiring teachers in my life, and that includes my father, I\u2019d be lost and listless. You know, it\u2019s really a gift to be part of something that\u2019s bigger than yourself, as I feel my movies have been. But that\u2019s not a belief that\u2019s inherited, that\u2019s taught.<\/p>\n

Interview by David Geffner. Photo courtesy of Davis Guggenheim.<\/p>\n","protected":false},"excerpt":{"rendered":"

If you think you know filmmaker Davis Guggenheim by his many episodic TV credits or iconic last name, you\u2019ve missed most of his story. Raised on social justice documentaries by his father, Charles Guggenheim, whose first Oscar-winning film, Nine From Little Rock, explored \u201860s era school desegregation, and whose second Academy Award-winner, Robert Kennedy Remembered, paid tribute to America\u2019s greatest public education statesman, Davis Guggenheim\u2019s first and best passion is nonfiction filmmaking, and the opportunity it gives him to \u201cbe […]<\/p>\n","protected":false},"author":1,"featured_media":3693,"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":[6],"tags":[149,263],"class_list":["post-1182","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exposure","tag-davis-guggenheim","tag-waiting-for-superman"],"acf":[],"yoast_head":"\nDavis Guggenheim \u2013 Waiting for Superman - 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\/exposure-davis-guggenheim\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Davis Guggenheim \u2013 Waiting for Superman - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"If you think you know filmmaker Davis Guggenheim by his many episodic TV credits or iconic last name, you\u2019ve missed most of his story. 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