Docs on the Shortlist:
Soundtrack for a Revolution

Dan Sturman                                                      Bill Guttentag

In anticipation of this year's Oscars, Tribeca Cinemas will be showing six groundbreaking documentaries as part of the Docs on the Shortlist hosted by the GUCCI TRIBECA DOCUMENTARY FUND event this weekend, January 8 and 9. We asked each participating filmmaker five questions about their documentaries. Dan Sturman discusses the music documentary he directed with Bill Guttentag, Soundtrack for a Revolution (TFF 2009).

Please describe the story you tell in your film. What inspired you to tell that story?

We began developing the project in 2004, when Obama was just a twinkle in the eye of the nation, and the mood of this country seemed dispirited and disengaged. We wanted to create a film that would inspire people to re-engage, and we felt there was no more inspiring example than the incredibly brave men, women, and children who literally risked their lives fighting for justice during the American civil rights movement of the 1950s and '60s. Although there have already been some truly remarkable documentary films made about the movement, our goal was to tell the story differently—on an emotional level—to engage the heart as well as the mind. It was for this reason that that we focused on the music of the movement—the powerful songs the activists themselves sang to give them courage and to create unity on picket lines, in mass meetings, in paddy wagons, and in jail cells. Our hope is that the film will transport the audience back in time, making them not only understand the history, but also making them feel.

Making documentaries is not an easy road. What was the biggest challenge in getting your film made? How did you overcome it?

Music!  Everyone said it was gonna be hard, and boy, were they right! Attracting top talent and then dealing with their labels and tour schedules and agents and managers, then getting them into the studio, etc. etc.—it was all really challenging. We were fortunate to find a great music producer, Corey Smyth, who was able to pull in favors, connect us with talent, and generally help us navigate the insanity of the music business. Ultimately, we held out for the artists we really cared about, and so the film ended up taking twice as long to complete. On the flip side, the reward for all this patience was the extraordinary good will and kindness of our artists. As just one example, John Legend made a special trip, flying roundtrip NYC to LA in the same day on his own dime so that he could record for us. And then, of course, another reward was the once-in-a-lifetime experience of being in studio with incredible artists, watching them resurrect the old songs of the movement and transform them into something vibrant and alive.

For aspiring filmmakers, what was the biggest asset you found in getting the word out about your film?

We've now had the good fortune to screen the film all over the world, and we've learned that the story of the movement—a story of courage and conviction and, ultimately, of some triumph—resonates across cultures.  

Is there a particular screening of your film that stands out for you as the director? What made that experience special?

Our premiere screening at Tribeca was absolutely thrilling. This was our first chance to experience the film through the eyes of an audience, and we really didn't know what to expect.  It was a packed house, and we were all overwhelmed by just how enthusiastic the audience response was.  We've been to plenty of festival screenings—for films of our own, and for films of others—and we've never experienced anything so intense and positive.  Something about the chemistry of the room, perhaps?

What makes your film a must-see?

We will be sending out free cookies to all those who see it.
 

Read more: Q&A: Soundtrack for a Revolution

Saturday, January 9, 2010
3:30 pm