by Susan Kouguell
Regardless of which side of the political aisle you stand, there is probably one point all sides can agree on – Academy Award® nominated filmmakers Carl Deal and Tia Lessin make thought-provoking films that challenge the audience to question the world around them. Their two recent films, which guest speaker Carl Deal recently spoke about at Purchase College, SUNY – CITIZEN KOCH and MICHAEL MOORE IN TRUMPLAND – are no exception.
Carl Deal and Tia Lessin
About the Filmmakers
Carl Deal and Tia Lessin, are Academy Award®-nominated filmmakers, who produced and directed TROUBLE THE WATER, winner of the Gotham Independent Film Award, the Sundance Film Festival’s Grand Jury Prize, and the Full Frame Documentary Festival Grand Jury Prize. Deal and Lessin were, respectively, archival and supervising producers of Michael Moore’s FAHRENHEIT 9/11, winner of the Palme d’Or, Academy Award®-winning BOWLING FOR COLUMBINE and co-producers of CAPITALISM: A LOVE STORY, WHERE TO INVADE NEXT and most recently Deal produced (with Michael Moore) MICHAEL MOORE IN TRUMPLAND, which Lessin Executive produced.
Tia and Carl were nominated for an NAACP Image Award and a Producers Guild Award for TROUBLE THE WATER. Tia line produced Martin Scorsese’s Emmy and Grammy-winning film NO DIRECTION HOME: BOB DYLAN and was consulting producer of LIVING IN THE MATERIAL WORLD: GEORGE HARRISON. Her work as a producer of the series THE AWFUL TRUTH earned her two Emmy nominations, one arrest and a lifetime ban from Disney World. She is the recipient of the L’Oréal Paris/Women in Film’s Women of Worth Vision Award and the Sidney Hillman Prize for Broadcast Journalism for BEHIND THE LABELS, a film about labor trafficking in the US garment industry. Carl Deal has contributed to many other documentary films, and worked as an international news producer and a writer, reporting from natural disasters and conflict zones throughout the U.S., Latin America, and in Iraq.
About CITIZEN KOCH
The film tells the story of the changing American political landscape through the eyes of three Wisconsin state employees, all lifelong Republicans, who suddenly find their party taking direct aim at them, stripping away the economic ground their families have built and depended on for generations: Set against the rise of the Tea Party in the aftermath of the U.S. Supreme Court’s 2010 Citizens United ruling, a citizen uprising to recall Wisconsin Governor Scott Walker collides with the Tea Party-aligned “Americans for Prosperity,” a group founded and lavishly financed by two of the world’s richest men — David and Charles Koch. As Republican working class voters find themselves in the cross-hairs of their own party and its billionaire backers, they are forced to choose sides.
CARL DEAL: “The film was made in 2011-2012, and came out in 2013. It’s very topical given the election season right now. What you see here is a behind the scenes; and today it’s still happening all over the country; there are still certain states that are being targeted in the same way as Wisconsin was targeted in this film.”
Protesters fill the rotunda in the Wisconsin State Capital in the run up to Gov. Walker’s anti-union bill in a scene from CITIZEN KOCH
Advice for Storytellers
CARL DEAL: “This film began with the idea to do something about climate change deniers and along the way of making this, very early on, we concluded that we are filmmakers and we are people who are engaged with the world so we try to make media that engages with what is relevant today, in the moment. It became a movie about money and politics because we realized that’s where the problem lies. We never thought we’d be in Wisconsin; we ended up in Wisconsin sort of on a whim because that’s where the news of the day took us. So, for you storytellers, I hope you always follow the story where it takes you, and get out of your head and not be fixed in following the idea that you have when you get support to do a project. Let the project also have a life of its own.”
Backlash
Making a film that has the potential to stir up controversy carries its own set of risks. Deal was asked how one manages the issue of backlash and specifically how they handled it on CITIZEN KOCH.
CARL DEAL: “We got Errors and Omissions insurance and we made sure that we were insured in case anything happened that got in the way of us finishing the film. We knew we were taking on some powerful interests with it. We were set to premiere at Sundance and our broadcaster was about to release the last transfer of the film when they called us and said we needed to change the title or else. The New Yorker did an exposé on it.”
New Yorker reporter Jane Mayer writes: “Lessin and Deal had provisionally called the film “Citizen Corp,” but they worried that the title made it sound like a film about a corpse. After Sundance officials pressed for a final title so that they could start promoting it, Lessin and Deal told ITVS that they had settled on “Citizen Koch.” The new title reflected the evolution of the narrative: reporting had focused increasingly on the pitched battle in Wisconsin over the efforts of Scott Walker, the Republican governor, to ban collective bargaining by public-sector-employee unions. As the reported, Koch Industries was among Walker’s primary financial backers in his 2010 gubernatorial campaign.
CARL DEAL: “The title of the film is so important sometimes. The “Citizen Koch” title was a direct reference to Governor Scott Walker; it set up expectations for viewers who thought it was an exposé about the Koch brothers, which it wasn’t. Think about your titles.”
Character-Driven and Context in Citizen Koch
CARL DEAL: “There are many different ways to make a documentary film. There’s a trend now to make only character-driven documentaries and those can be really beautiful and emotional stories, and I also think the context for these stories is really important. Not every audience is going to understand the context with an emotional connection to characters so that’s why we did it both ways here.”
About MICHAEL MOORE IN TRUMPLAND
Oscar-winner Michael Moore dives deep in the heart of hostile TrumpLand territory with his daring, profound, and uproarious one-man show. When the show gets banned from the first town they tried, Mike moves on to an even bigger community of Trump supporters in the ironically-named Clinton County, Ohio.
CARL DEAL: “CITIZEN KOCH was a totally different process than MICHAEL MOORE IN TRUMPLAND. CITIZEN KOCH took a year and a half to make because there were events unfolding over time. With MICHAEL MOORE IN TRUMPLAND we decided to make it in early to mid-September (2016) and we shot it as a live performance in two days and we cut it in a week. The morning we finished it I called the IFC Center in downtown New York City and asked if we could do a preview screening and they said sure, and they cleared out the decks, put us in the big theatre and we had thousands of people who were winding around the block because there was a hunger for something new, for someone to say something new about this election cycle in popular media.”
Final Words
CARL DEAL: “When you make movies hopefully you’re transformed through the process in some way because you’re engaging with material with events in the documentary but you’re trying to tell the story and there’s an artistic component to it. When it works well, the audience can tell that the creator has been changed or transformed in some way, has been impacted by what they’re doing.”
Visit these sites to read more about CITIZEN KOCH and MICHAEL MOORE IN TRUMPLAND.
