I woke up at 10am on Sunday and found this post on the Southie Boy Facebook Page
“the southie movies are getting fuckign annoying man go back to hollywood. all you fools dont realise thsese camrbidge yuppies are making money off of your stories. stop supporting south boston movies unless then done by SOUTH BOSTON PEOPLE not faggots from cambridge and california”
My response went something like this,
“EJ – Thank you for your support. My family has lived in South Boston for 170 years. I’ve lived on 8th Street, Peters Street, Loring Street, behind Osco’s, and shopped at Flanagan’s at every stop. Just because I’m not your friend doesn’t mean I’m not from Southie.
PS: You’re a true credit to the neighborhood. Really fixing that reputation.”
He took his post down rather quickly after that…Then came Monday night…
**This is an excerpt from my Graduate Thesis Production Book. At this point I was able to reflect of the pre-production, production, and post-production stages of this project, which began in my senior year of high school.**
When I first started graduate school my Auntie Anne told me that it was more about navigating through the system than completing projects and assignments. Now that I am on the “payment due” side of the student loan system, I have one caveat to argue with dear old Auntie Anne. While graduate school does have a fair amount of hurdles, if you have a compelling thesis, it is more of a practice of wading through the one thing that everyone holds so dear: their own opinion. Since I posted my first “test thesis” on YouTube in December of 2010, I have received attention from Boston.com, WGBH Radio, WRKO’s Howie Carr (allegedly), and National Public Radio.
**This was my experience with obtaining rights for my film. While this will probably be very dry for the average reader (of a documentary filmmaker’s website…) I hope this is helpful to new filmmakers who are looking to get their projects ready for distribution.**
When I started Grad School, my Business of Modern Media professor told us, “You need a piece of paper for every shot, sound, and image you use in your film.” This piece of paper, of course, is a written agreement between the filmmaker and the copyright holder stating that you have permission to include his or her work in your project.
I always wondered: Who do I contact for rights to things? What do I tell them? How much do things cost? There are so many variables to obtaining rights and clearances. It is unfair to expect anyone to give you a step by step process. Nope, the only way to navigate this extremely important phase of film producing is to do it the same way you navigated through high school: Awkwardly, anxious, and with a bit of disdain towards authority.
Luckily for me, my film is mostly based on my family, so I was able to use a lot of old family photos and 8mm footage. However, with my project being an historical documentary, there was no way for me to skirt around images that ran across the front pages of newspapers and defined the forced busing era. When all was said and done I needed the rights to three types of footages: still images, music, and news footage.
Coming to terms with delegating…
I was interviewed by Boston.com yesterday. Check it out here. Thank you to the inspiring amount of email from those who lived during the time. I will be responding to all of you.
Also, thank you to those who commented on the article’s comment page. Whether you agree or disagree with this project, we are starting to talk about issues of race, class, and culture – and that is the true goal.
Boston is famous for the ability of its people to enter into lively and intellectual debate, so bring it on, people!
PS: The debate is more fun over a couple of beers, so meet me at Murphy’s!
Here is a rough cut of my work in progress. This semester has been a whirlwind of personal and professional accomplishments, and the fruits of my labor are being received very well.
If you know anyone that would be able to contribute to this project in any way (interviews, archival footage, information, friend of a friend of a friend…) please let me know!
© Padriac Farma 2010
In all projects there is a learning curve. I’ve put off showing this video for some time now, because it is amateurish at best. However, I am hoping that you will be interested in seeing my development aesthetically and narratively. As always, please feel free to provide feedback, and contact me if you have any archival footage, information, or even if you would like to be interviewed.
Su Friedrich came out with this avant garde film, chronicling the story of a girl and the issues with her father as she got older. It is black and white, narrated by a little girl, and quite ambiguous as to whether this is self-reflexive or not.
Without reading anything about the film, I took away that it was a documentary because the filmmaker started inserting herself into the film as the character became more of an adult. At Emerson I’ve spent a lot of time focusing on documentary, but I really haven’t wanted to completely isolate myself from the narrative world.
The way Friedrich created this film really gives me a place to start off (much like Man on Wire) to see how I could marry the world of narrative and documentary. I haven’t really ironed it out, but there’s something about thinking back to those old days in film school where I was given 5 film chits for 16mm film of my choosing and being told to make a movie. I miss the creative parts, not the long hours, but I don’t want to leave that aspect of my work out.