Susan Kouguell Interviews ‘Swim Team’ Filmmaker Lara Stolman
The award-winning feature documentary Swim Team is indeed making a huge splash. On July 7th of this year, ABC World News Tonight chose the cast of Swim Team as its “Persons of the Week” and the film continues to garner note-worthy attention.
I recently spoke with director Lara Stolman about making her debut independent documentary, her creative process and how this project came to life.
Lara has produced news and documentaries that have aired on NBC, MSNBC, TLC, AMC, VH-1 and The New York Times‘ website. Her film Portraits of Survival, about coming to terms with the tragedy of 9/11 through art, was selected for the Hamptons International Film Festival, aired on MSNBC and was awarded the Cine Golden Eagle. For Swim Team, her first feature documentary film, she was named an IFP Documentary Lab Fellow, awarded the New York Women in Film and Television Loreen Arbus Disability Awareness grant and was provided with completion funding from the Karma Foundation. Lara has guest lectured on documentary production at NYU, served as a juror for the News and Documentary Emmy Awards and writes for the Huffington Post. She has a BA in Political Science from Columbia College of Columbia University and JD from Yeshiva University’s Benjamin Cardozo School of Law.
About the Film
Swim Team is a feature documentary chronicling the rise of a competitive swim team made up of diverse teens on the autism spectrum. Based in Perth Amboy, New Jersey, the cast of Swim Team is largely Latino and Asian, minorities that are underrepresented in competitive swimming and underserved in autism intervention and education. The film follows three of the team’s star athletes, boys on the cusp of adulthood as they face a future of exclusion and dependence. But everything changes when they come together as a team with parent coaches who train them with high expectations and zero pity. As the team vies for state and national Special Olympics championships, Swim Team captures a moving quest for inclusion, independence and a life that feels winning.
SUSAN KOUGUELL: How did the project come about?
LARA STOLMAN: I was looking for swimming lessons for my son who has autism and I found Coach Mike and Maria. This was in the fall of 2013. They were recruiting children for their new team; the team was just coming together and so it was the perfect time to meet them and start working on the film. We were able to be there on the first day of practice, the first day the kids came together as a team.
They were so inspiring to me as a mom, as a parent, and as a filmmaker. I was very impressed with their high expectations. Coach Mike said, ‘This team is going to dominate the competition.’ No one speaks that way about children with autism. I knew that I had to see how this unfolds. My son was too young to participate on the team at that time. It was soon after I met them that I knew I had to capture this story.
KOUGUELL: Why did you choose not to include yourself or your son’s story in this film?
STOLMAN: My background is in film and television, and this is my first independent project. I work for networks and cable channels, and I’ve always done what I’ve been assigned to do story wise. I never thought of myself as a personal filmmaker; that’s not how I approached my work. When the time came for me to make my film I looked up to the great cinéma vérité filmmakers, D.A. Pennebaker and Barbra Kopple.
It’s interesting, I didn’t think it was important to turn the camera on myself and yet you could say this was a very personal film. The film is very much informed by my experience. The intimacy of the scenes with these families is a result of what I had in common with them and we were able to establish a rapport.
KOUGUELL: The parents of the three protagonists are so open and honest about their experiences, their fears for the future for their sons, their pride of their sons’ accomplishments. Describe the process of the boys and families opening up to you.
STOLMAN: It was a process; it didn’t happen right away. I knew I had to have the whole team involved in order to film. There were 17 kids on the team and 17 families. I needed everyone to sign release forms. I needed to call everyone up and not everyone returned my calls. I showed up at the YMCA, I went to people’s houses, and during this process I was interviewing everyone and trying to figure out who was going to be a featured character, who was going to be a featured family and who would let me, who was going to be part of the process and be a partner with me. That’s what you need with a film like this. Not everyone was interested. I had families who didn’t return my calls or they said, ‘no we don’t want to do this,’ but everyone signed those release forms. I was able to film the story with the kids and the team and no one had to be blurred out or cut out. For some families it was personal, there are privacy issues and there are stigma issues too with autism and I understand that.
But even with the families that were interested it was still a process to get to the point where we really had that intimacy that you see in the film. For example, the scene with Rosa where she sits down with her son Robbie to talk to him about autism — that happened later in our filming. It was something that we worked toward. She told me when I first met her that it was important for her to have this conversation with her son. He was on the team specifically so she could tell him about who he was and his diagnosis. He didn’t need to be on that team. Most of the kids needed to be on the team because no other team would take them but Robbie was on two other swim teams; he was on his high school team and the elite swimming team. Rosa thought it was important that he learned more about who he is and his community. I asked her if I could film that conversation and she agreed. There wasn’t a lot of direction, so to speak, but we definitely talked ahead of time; when she was thinking of doing it, what she would say. She was very nervous how to talk about it.
My relationship with these parents was more than a filmmaker and their subjects. I became part of the community, part of the team. I wasn’t a team family but I actually became a team parent.
KOUGUELL: I imagine that’s how Mikey, Kelvin, and Robbie, came to trust you and the cameras.
STOLMAN: I didn’t think it was going to pan out with Robbie. I tried to test him with my iPhone when I went to visit him at his home. I wanted to do a camera test to see how he would be on camera and he just wouldn’t talk. I guess he was nervous. I didn’t know him at that point and I thought it wasn’t going to work out because he was shutting down. Lo and behold, he emerges as one of the most charismatic characters.
We got to the point they didn’t think about the cameras. It was myself, DP, Laela Kilbourn and my sound guy Peter Ginsburg. We are not obtrusive, and we spent a lot of time with them even when we weren’t filming. I went to the practices and participated, I spoke to the parents even when I wasn’t shooting and all of that I think contributed to the kids and parents not noticing the cameras.
KOUGUELL: Did you work from any type of scripted outline?
STOLMAN: Yes. Because I work in television and television news, I write everything in script form before I edit. I go through a process over a few months usually and with a project like this I go through all the footage and I put the whole script on paper and do a paper cut before I start to edit with my editor. Things change when you get into an edit room. We had a focus group at one point.
I like to write and I like to approach the story first from the standpoint of putting it on paper. Even before I wrote a script, I wrote a treatment. Everything is transcribed, and I transcribed this project myself. I like to look at footage multiple times because each time I might be looking at things differently; sometimes you’re looking at the dialogue, sometimes the shot. Then I write a treatment or an outline, and then I write a script. The script is something that changes when you get into the edit room. I sit there with a laptop and I’m constantly changing as we are editing. I feel most comfortable working that way. It took us only seven months to edit the film and I think that’s in part because of the scripting process and because I’m such a stickler about that.
KOUGUELL: What was the length of the shoot?
STOLMAN: We started filming January 2014 and we did most of our shooting until June 2014, then we did some follow-up the next year with the main characters. We didn’t know what the ending was going to be. It could have been that Mikey goes to nationals, but all these other things were happening and I realized that’s not the ending.
KOUGUELL: Did you have any specific intentions going into the project regarding the subject matter you wanted to address and did that change in any way as the filming evolved?
STOLMAN: There were certainly many unexpected twists and turns along the way and I definitely had an open mind, which you have to have in a documentary with real life characters who are living their lives.
We did know that Mikey was going to the nationals before we started shooting and that’s one of the reasons that I thought this was going to be the natural ending of the film. We didn’t know anything else; I didn’t know who the main characters were going to be. We were following seven of the families pretty closely and it wasn’t until midway through filming that it became clear that it was these three guys on the relay team.
I knew I had a story: a season in the life of this team and the star swimmer was going to nationals. But beyond that everything else was organic, unpredictable and exciting. For example, people have asked me if I orchestrated the Act 2 crisis point when Robbie is late for practice and I say, of course not, that’s part of the fun and unpredictability of the process.
KOUGUELL: You tackle the challenges the three boys and their parents face directly and unapologetically. This isn’t a film only about young people who have disabilities and their families, it is also universal, as it examines the failure of the system and how parents try to navigate it as best as possible and how the community works together or doesn’t.
STOLMAN: I was mindful that this film has to transcend an audience of families with kids who are on the spectrum. I wanted it to be universally appealing. What these families are struggling with is applicable to all parents in general. Whether their kids have disabilities or not all, parents have to handle unexpected challenges with their children.
My producer and editor said they felt so strongly about being part of the film because they’re mothers — and their boys are typical — but they connected so strongly with the parents’ POV in the film and how much these parents love these kids and how they’re willing to do everything and anything it takes. We would like the film to move beyond a niche audience.
Swim Team is playing at the IFC Center in Manhattan until July 25 and at the Laemmie Monica Film Center in Los Angeles until July 26. For more information about Swim Team and screenings visit their website.