Posts Tagged ‘David Riker’

As a follow-up to yesterday’s post about the news of Orson Welles’s The Other Side of the Wind, it is worth posting news of a contemporary movie that shows the fragile state of film and the highly volatile and transitory condition of motion picture media that has continued to build over the past two decades.  David Riker, the director (The Girl) and writer (Dirty Wars) who is the featured Close-Up interviewee of Chapter 5 of Moving Images, has recently initiated a Kickstarter campaign to bring his universally praised first film La Ciudad back into circulation.

Director David Riker, third from right, working with garment workers to develop La Ciudad

Director David Riker, third from right, working with garment workers to develop La Ciudad

In only 15 years, this important movie that features a series of stories about undocumented immigrants in the United States – “a treasure,” according to Roger Ebert, “simply a great film,” from the Washington Post, and compared with neo-realist classics by Variety – became virtually unseeable, with a few worn prints in circulation and the DVD release out of print, its company having folded.  This particular story is a highly valuable one for media educators and students to explore, because it touches on many issues of great importance to 21st century mediamakers: newly developing funding resources and methods, direct pitches to audiences, film preservation, and social issues addressed in movies. Another important corollary to this story is that it ties in with one issue that media teachers have to deal with constantly: reminding students of the necessity to carefully preserve and archive their own work.  Are you making copies and keeping track of them?  Do you control the formats and have access to them?  I find that often enough, the answer is no.  Students often do not pay enough attention to this, and from time to time, former students contact me asking if I have copies of their work.  “Well, I’ll be happy to check,” I say, wanting to add, “and do you remember the first things I went over when we started class?  And telling you that there’s a decent chance you will be creating treasures that will be priceless to you in years to come…”

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team03Among the nominees at the upcoming 2014 Academy Awards ceremony, Dirty Wars, directed by Rick Rowley and featuring journalist Jeremy Scahill, was co-written and co-edited by David Riker, who is the featured Close-Up interviewee of Chapter 5 of Moving Images.  The issues raised when investigating this movie and Mr. Riker’s work in it are highly compelling when examining the themes and objectives of Chapters 5 (Studio Production and Personal Expression) and 6 (Recording and Presenting Reality) of Moving Images.

dirty warsIn these chapters of Moving Images, questions about media formats and communicative methods are scrutinized, as well as a wide range of issues familiar to non-fiction filmmakers and writers, including authenticity, rhetorical and narrative structures, ethical considerations, and platforms.  Mr. Riker, whose work began in documentary but then shifted to fiction, is a seasoned screenwriter (including The Girl starring Abbie Cornish, Sleep Dealerand the award-winning La Ciudad), and he brought his dual perspectives of documentary photography and fiction screenwriting to his work with Scahill and Rowley, saying, “Dirty Wars was an interesting balance because while it is absolutely a documentary… to really tell the story the three of us were frequently looking to the tradition of fiction filmmaking as a way of structuring Jeremy’s research so that it conveys some of the tension and the drama that … was part of their experience.”  I highly recommend this interview with David Riker from the blog Truth Scout.      

On the Academy Awards web site, you can check out clips and information on all the nominees – for Documentary Feature, the others are 20 Feet from Stardom, The Act of Killing, Cutie and the Boxer, and The Square.  

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Orson Welles directing Too Much Johnson

Orson Welles directing Too Much Johnson

One of the most motivating and fruitful areas of inquiry for learners can be to investigate the early paths of diverse individuals as they navigate their ways into professional, creative, and adult lives.  I was very satisfied to have been able to document some compelling stories in the interviews done for Moving Imagessuch as those with Greg Butler, David Riker, and Hiro Narita.  In relation to filmmaking professionals, particularly directors, there are many books published in recent years that document perspectives about how these creators started their careers, such as Breaking In by Nicholas Jarecki, The Mind of the Modern Moviemaker by Josh Horowitz, My First Movie (1 and 2) by Stephen Lowenstein, and Moviemakers’ Master Class by Laurent Tirard.  For me, good places to start are with Doug Liman or Michel Gondry in Horowitz’s book.  And from this summer, a great early-in-the-directing-career story emerged with the discovery and restoration of Orson Welles’s film Too Much Johnson.     

Early Inspirations (photo Carl Casinghino)

Early Inspirations (photo Carl Casinghino)

The New York Times just wrapped up an excellent series in this vein: They asked a variety of creative and critical professionals about  first inspirations that may have begun them on their journey to a professional life in their artistically-oriented field of endeavor.  The series, titled First Crush, features many great short pieces, including TV critic Alessandra Stanley’s essay on the perils of keeping your children from watching television.  There is a nicely diverse selection of narratives here, and featured articles are available about television, theater, video games, dance, and more.  One of the most refreshing aspects of the article “Remembering the Spark that Ignited a Creative Fire” is that the people interviewed here are not famous celebrities (at least to our students); they are professionals who have found fulfillment and success in a career of their choice.  Of particular note for media literacy are the pieces by Katie Chironis (a game designer for Microsoft Studios) and actor Evan Handler.    

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Abbie Cornish in David Riker’s “The Girl”

An earlier post in this blog featured the full interview with David Riker, our featured Close-Up Interview from Chapter 5 of Moving Images.  

Here is an excellent article from the Tribeca website that discusses the Q&A with Riker and producer Tania Zarak after the last festival screening of The Girl, starring Abbie Cornish.

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David Riker is currently in post-production on what will be the second feature film he has written and directed, “The Girl.”  His first feature, the highly acclaimed “La Ciudad,” began as part of Riker’s work as a student in NYU’s graduate film program.  Among his other work in between those two projects, David won awards for screenwriting on “Sleep Dealer.”  David provides personal and professional perspective for Chapter 5: Personal Expression and Studio Production.  

Abbie Cornish and Maritza Hernandez in David Riker’s “The Girl”

Did you have any early inspirations to use moving images to communicate? 

I began taking photographs as a young teenager and remember building my first darkroom in the boiler room of our house, and standing there, sweating, as I tried to teach myself how to wind my negative film into a Patterson developing tank. I may have been thirteen years old. None of my friends were interested in photography but I befriended the owner of a photo lab and he began to take me under his wing. My camera – first a Kodak instamatic, then a Brownie, and finally a 35mm Praktica SLR– became my closest friend, a kind of magic carpet that seemed to open up a new universe to me.

Writer and director David Riker

In what ways did you first become involved in making movies?

It was much later before I began to make films, and the journey was not an easy one. My early love for photography was later given direction when I began to see the work of Walker Evans, Dorothea Lange, Donald McCullum, the great documentary photographers. Suddenly, photographs seemed vital to me in a new way. I was at university at the time, and an activist in the anti-nuclear movement, and I began to document the peace movement in the United States, Europe and Japan. By my senior year I had assembled a large portfolio of images and was dreaming of one day joining the Magnum Photo Agency, home to so many of the greats.

But then I had a strange epiphany. Looking through my portfolio one day I realized that I didn’t know the names of most of the people I had photographed. I didn’t have an address, or any way to contact them. I realized I knew next to nothing about the subjects of my photos. The photographs had visual integrity, and some of the images were quite strong, but I couldn’t help feeling that they were lacking in some fundamental way. I wanted the people in my photos to speak, and I felt that I had somehow rendered them mute. In what was one of the most painful experiences of my life, I put my camera down and stopped taking photographs.  Then, after some delay, I realized that if I wanted the subjects to speak I would have to begin making films.

David Riker, at right, directing “La Ciudad”

How did you move on from those initial steps?  What were some useful lessons you learned through your first experiences with motion pictures? 

The first footage I ever shot was on a hand-cranked 16mm Bolex; the longest shot limited to about twenty five seconds. But I was still using the camera as I had my still cameras – I filmed footage of Puerto Rican children breakdancing, of women trying to shut down the Wall Street Stock Exchange, demonstrators protesting the US war in El Salvador. But I still didn’t know the names of the people I was filming, and the Bolex was silent.

A few years later, Sony introduced the Hi-8mm Handycam and I rushed to make a documentary – for the first time with sound. Over the next few years I made a number of documentary videos, teaching myself along the way, but realized that I needed to deepen my understanding of film. I knew that great films were capable of stirring the deepest feelings, but I didn’t know what the secret was to their power. I was twenty seven when I enrolled in graduate film school.

In your feature La Ciudad, you shot the film in black and white.  Were you inspired by any particular filmmaking traditions to make this choice?  How do you think this decision helped to establish a unique style in the film and particular storytelling values? 

At film school in the early 1990s, students learned their craft by shooting on 16mm cameras and editing on flatbeds. There were no digital non-linear editing systems. In the first year everyone was expected to shoot in black and white, and the films were silent. Frustrated at first that I was still working without sound, I began to realize that the key to cinema is visual language. And slowly, deliberately, I started to learn its vocabulary and rules. It was a second epiphany for me, like uncovering some long-hidden mystery.

“Bicycle Thieves” by Roberto Rossellini

It was during this period of intense discovery that I began to make my first feature film, La Ciudad.  I was inspired in part by the Italian films made right after WWII, the so-called neo-realist films – Paisan, BicycleThieves, La Terra Trema. These were films that seemed to reflect life as it was really lived, but with a lyrical voice. Unlike many contemporary ‘realistic’ films that were using a gritty, handheld style, the neo-realist films were eloquent, the choice of images — deliberate, striking, even poetic.  I know that as I struggled to find an articulate language in my own film, the images from these masterpieces were hanging above me like golden signposts.

When you approach writing a screenplay, how do you develop a sense of ways in which the visuals will help to communicate the story?

It is tempting, when writing a screenplay, to think in images, and to some extent it’s necessary to ‘see’ the film as you’re writing. But the essential task of the screenwriter is not to visualize the film but to understand and control the dynamics of the story itself. The craft of writing a screenplay is separate and distinct from the craft of directing a film.

What has been your experience of the collaborative nature of the filmmaking process?

All filmmaking is collaborative, and this makes it one of the most complex and powerful of the arts. Many of us know that Avatar was made by James Cameron, but we should also know that he was assisted by a crew of more than ten thousand. For reasons too complicated to discuss here, the director has been elevated above all others in film.

I think the most important experience for young filmmakers is to learn as many aspects of the craft as possible – to understand the unique challenges of the writer, the cinematographer, the gaffer, the sound recordist, the actor, the editor. A composer must learn each of the instruments before composing for an orchestra.

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