Tribeca, which stands for “triangle below Canal”, is a nickname that pays homage to its location in fabulous Manhattan. Also paying homage to “the city that doesn’t sleep” are two films that are very much part of the New York City culture: a documentary set at the Republican National Convention and a behind-the-scenes look at a TV show that shaped a Manhattan generation. In addition to film screenings, the Tribeca Film Festival holds a number of panel discussions where moderators and audience members direct questions to prominent members of the industry.
Conventioneers
Sometimes love sprouts in the strangest of places- one being at the 2004 Republican National Convention. Republican delegate David Massey (Matthew Mabe) leaves his wife behind and makes his first trip to the Big Apple equipped with a suit and tie and a Texas twang. Old college friend Leah (Woodwyn Koons) is a Democratic activist with a fiancé in Connecticut and a protest to organize. When Dave contacts Leah and suggests they meet up while he’s in New York, the two polar political opposites ignite in, and out, of the sack. After spending all their free time together pre-convention, Massey begins to discover faults in the Republican agenda while Leah finds that her error of judgment might cost her a marriage.
As always, a film about politics can never really be truly objective. Stephens political affiliation to the Democratic party came through strongly in Conventioneers. The script referrers to the Republicans as locusts when swarms of them enter New York and when Massey reveals that he cheated, his wife tells him to go to church. Frankly, these bits are quite funny, but nevertheless, slightly derogatory.
Conventioneers is a film that breeds real-life footage with a feature film storyline and casted actors. New Yorker and director Mora Stephens uses handheld camera material shot in the summer of 2004 to give the film a true documentary feel- even when the product really isn’t a documentary. The result is both good and bad. On the plus side, the footage of the protesters is outstanding and I could truly understand the magnitude of tensions that surrounded the event. Footage of the Convention itself was most likely captured without a license, which added to the guerilla effect that Stephens was going for. On the negative side, the rigidity of the script made these talented actors seem unnatural. The juxtaposition of the fluidity of the camera to the forceful dialogue made for a slightly unpleasant final product.
TV Party
When Glenn O’ Brien decided to put a television show on a New York public access channel, it wasn’t meant to be the classic primetime talk experience. TV Party, a documentary on a TV program with the same name, exposes an era where rebellion reigned and successfully paints a full picture of what this show and its family were all about.
TV Party was O’Brien’s vision of what television should be like- one big cocktail party with friends. O’Brien gathered his acquaintances – the artists, musicians and downtown party-goers- and put them all in one room with cheap equipment, camera operators with no experience, and a director that was under the influence half of the time. From 1978-1982, watching TV Party seemed to be more like spying on O’Brien’s life. Some episodes featured O’Brien rolling a joint or making out with groups of women, while others had political ties. Musical guests ranged from ventriloquists to accordion players and the set included nothing but folding chairs and a microphone. TV Party was about drugs, sex, freedom, and improvisation and, in turn, challenged everything that was television at the time. With a guest list that included 80’s icons Debbie Harry, David Bowie and graffiti artists Fab Five Freddy and Jean Michel Basquiat, TV Party became a voice for the downtown New York scene and a marking point for a cultural generation.
Through live footage of the show and interviews from the crew, the host and guests, the documentary provides a great introduction for first-time viewers and a decent behind-the-scenes look for those avid fans. Interviews not only documented the show, but also dabbled in a description of New York during the early 80’s and reasons behind why a flourishing art scene has slowly declined over the past 20-something years. However, even with its incredibly fascinating subject, this documentary lacked some of the enthusiasm and energy that would be expected from the filmmakers. Black-and-white show footage got repetitive at times and dominated the running time of a film that could have used a bit more color. Nevertheless, TV Party celebrates a cultural movement of creativity and originality and makes for good documentary film.
Tribeca Panel Series: Copyrighting Creativity
This panel discussion centered around the issues and problems the documentary industry faces while obtaining the rights to archival footage and song. The afternoon began with an intro into the 80’s television series Eyes on the Prize- a historical look at the civil rights movement. Footage and music clearances have been standing in the way of getting this education series re-released to the public. Increasingly high costs and even more difficult stipulations placed on obtaining rights clearances is a major issue facing the film industry as a whole as well as the individual independent filmmakers attempting to make a living. Before putting out a wad of cash for just one song, filmmakers used to consider the value and the aesthetic use of including the song in the final product. Now, all of the considerations rest on if clearances can or cannot be obtained and for what price. Jeffrey Tuchman, an award-winning documentary filmmaker, said that the cost of one minute of music for one of his projects would have made for his entire music budget.
For all of Cinema Blend's Tribeca 2005 coverage click here.
