Ben Selkow
Director/Producer
www.buriedaboveground.tv
www.cagethemovie.com
www.indiepixfilms.com/film/3559
www.34lukefilms.com
Name of your Documentary?
A Summer in the Cage — www.cagethemovie.com <http://www.cagethemovie.com>
Why did you choose this title?
It was the original title when the film was supposed to be about one summer following three generations of street ballers at the West 4th Street basketball courts in Manhattan. During that summer, things took a VERY different turn. The film took seven years to complete. Retaining the original title was a nod towards never knowing what life and film will deliver. No control.
What made you do a documentary on mental health?
The subject matter found me--literally. I wanted to do a film about street basketball.
Was the subject matter something you were knowledgeable about prior to the documentary?
Not really. My mother is a psychologist. I have a friend who is a friend from college who is bipolar, but until I was confronted with the symptoms in Sam, I hadn’t educated myself. I sought a lot of information and certainly experienced even more through the course of making the film. Reading Dr. Kay Jamison’s books (as well as interviewing her for the film) taught me a whole lot about not just the clinical aspects, but the philosophical questions—reading and spending time with her ignited a great deal of empathy, along with spending so much time with Sam.
What were some of the highs & lows of the documentary filming process?
One high was the incredibly intimate friendship with Sam and his family that I developed. Being trusted to that degree is incredibly inspiring and humbling. As a result of this trust, getting to make a film was such an important lift for me. Finishing! I remember walking out of the post-production lab having finished all of the mixing and color-correction, creative decision-making, and being like, “I’m done!” The highs continued once the film was finished; screening it for audiences around the country and listening to the powerfully moving testimonies and sharing what happened in the Q&A periods. I had one filmmaker come see it and it inspired him to seek some professional help to better understand his own family’s battles with mental health. At another screening, a woman stood up and was pleading with her sister to get help because of her suicide ideations. Some of the lows were trusting that in the end I was a benefit to Sam. Feeling like I might be an additional stressor that was holding his recovery back was something I wrestled with. In the end, I don’t believe this was the case, but hearing some of his manic rants and “living” with him while editing for years was intense. Not as intense as it was for Sam, of course.
What where some of the challenges or advantages you faced in getting your documentary seen & distributed?
I was very lucky. Paola Freccero, who at the time was with Sundance Channel, and I met at the Sundance Producer’s Conference. I was there with another film, and we got to talking about “Cage” at a party. I doggedly pursued her after the conference back in New York. I think I wore her down, and she took a great interest in it and became an unbelievable champion and steward of the project. I owe her a great deal. And to Sundance Channel’s great credit, even when Paola left, they broadcasted it a bunch. Had a home viewing party with some friends—some of who know Sam well. Surreal. IndiePix Films picked it up fairly quickly as well. Cinetic Rights Management (digital rights) and 7th Art Releasing (for educational). The distribution market is very competitive. One love with other filmmakers, but we are all trying to get our stories seen. Dogfight! But with filed-down teeth.
Where can your Documentary be seen?
It had been on Sundance Channel—license is up, maybe we’ll extend it. Now it is available on DVD (with all kinds of extras features at www.indiepixfilms.com/film/3559 <http://www.indiepixfilms.com/film/3559> ). It’ll be available on online in time as well.
Do you think the current state of the global economy will have an adverse impact on filmmaking & funding for films?
Yes. Philanthropic sources, private equity, international co-production funds, and individual investors/contributor have barer cupboards. Additionally, home video sales have tapered and are not the promissory panacea they once were. Financially profitable digital distribution models are still emerging. I think filmmakers will keep making films regardless however. Digital technology has democraticized that aspect of the game; talent and craft is another story. There are plenty of folks hungry to tell stories, dissent, investigate and express themselves. I think distribution is also a big dilemma along with the paucity of funding sources. Where and how will films be seen beyond the usual venues?
Do you think the lack of major budgets for films will push the documentary film based approach more to the forefront?
No. Major budgets for films still exist. And it is the marketing and publicity resources that are the hottest commodity. Will the studio or indie wing have the funds to market a film and stay with it over a slower, grassroots roll out? Films can be seen more easily online, but the revenue models are not strong enough that either DIY approaches or advances exist to pre-sell or finance new projects.
Or will technology & shooting at global locations with inexpensive labor take the big budget out of big budget films?
I think you’ll see a polarity. Tent-pole, big budget films and more modest budgeted films. Again, marketing campaigns is what set things apart. Producers, crews and actors can get remarkable things done on all kinds of budgets. Earning an audience and driving an audience to the film with all the different choices for content is the real battle. For mainstream films, you still need stars attached (and thus, generally, larger salaries). But, feature films’ futures is a little above my pay-grade in terms of knowledge.
What do you see in the future of global film making with the continuous successes & cross overs of International films to the US market?
I think the successes are modest from International films. They do better in prestige/arthouse markets. In terms of big box office, U.S. market is pretty xenophobic and hard to penetrate. That being said, some of the greatest filmmakers in the world are NOT from the United States. But audiences are very receptive to documentaries or rather, good stories. It’s on us to tell them well, with excellent production value, humor, investigative profundity (I’m pretty sure I just made that phrase up) and with respect for the audience’s intelligence.
How does your life experiences affect or influence your approach to filmmaking & the stories you want to tell?
It’s everything. Your life experiences drive the inquiries and questions you ask. As well, what you haven’t done—it drives you to seek new places, people and experiences. It’s the greatest job in the world in that respect—you get to go to all kinds of places asking questions. From a social advocacy standpoint, you want to make films about issues you want to promote and because they take so long, and take so much passion, you better make sure it is relevant to you.
What are some of the projects you have worked on?
I started out working on feature films like “Random Hearts,” “What Lies Beneath” and “Meet the Parents.” I have worked on television shows like “Sex in the City” and “Sopranos,” as well a ton of commercials, music videos and television pilots. Then of course “A Summer in the Cage” was a seven-year commitment. Concurrently, I have been producing a documentary on a domestic terrorist and the resurgence of neo-Fascism in America.
What future projects do you have coming up or are looking forward to working on?
I am working on a documentary called “Buried Above Ground.” The film follows a soldier returning from Iraq, a Hurricane Katrina survivor, a child having witnessed community violence, and a rape/domestic violence survivor. The film takes our cultural knowledge of PTSD in the contexts of the public theater of trauma (war and natural disaster) to help better understand the private theaters of trauma (domestic abuse/rape and community violence). Check the trailer at: www.buriedaboveground.tv <http://www.buriedaboveground.tv> . We are still looking for some financing and production partners.
Your top 3 greatest film influences?
Any film by Terrence Malick, “Star Wars,” and “Hoop Dreams,” not necessarily in that order.
If you had limitless budget –what film would you make & why?
That’s top-secret. A comical and light-hearted look at wounded masculinity. Seriously. In development. It’s called “Overcompensation.” Can you see a trend here?