March 18, 2011 | Read Time: 3 minutes
Ben Tuller, a Bay Area filmmaker who in February won first place in the 501c3: Capturing Change on Camera contest, sponsored by Tufts University’s Child & Family WebGuide, for his film “A New Way Home.” The video was selected from a field of 50 entries in part due to its strong emotional impact, a product of Mr. Tuller’s preparation and previous work with the organization he filmed, George Mark Children’s House. The organization provides transitional and end-of-life care for children with serious illnesses and their families.
The Chronicle asked Mr. Tuller for his advice to nonprofits working with video. Here’s what he said.
What is the first step a nonprofit should take when considering creating a film about its mission?
A nonprofit must take great care to ensure that everyone is all on the same page. If everyone is working to achieve a different goal, their good intentions get lost. Running a successful organization operates under the same philosophy as creating a successful film: Every seemingly minute decision has to support the end goal.
What are your three best pieces of advice for an organization preparing to shoot a mission-focused film?
Plan, plan, and plan some more. And when you’ve planned every detail, throw it out the window. Both the organization and filmmaker should have a concrete vision of what they are going to tackle, with the acceptance of unexpected turns in the story along the way. In “A New Way Home,” the moments that hit me the hardest are the ones I never could have foreseen.
There was a scene in which one of the featured mothers invited me to the cemetery where her son was buried. In pre-production, I had given thought to filming a cemetery scene but decided against it because I worried it would be exploitative, heavy-handed, and cheapen the experiences of the families.
During production, however, I went out to visit the mother without any agenda to film that day; we were simply meeting for lunch and going through photos of her son to see what I could use for the film. She mentioned that her son was buried nearby, and she asked if I wanted to go visit. I happened to have my camera in the car and asked her permission to bring it along, just to be safe. When we got there, I witnessed a beautiful and subtle moment, a family reunited. These unpredictable moments are the gifts that the families gave me; I am forever in their debt.
If you had one eight-hour day to shoot a video for an organization, how would you spend your time? What would you make sure you captured on film?
It would be imperative to do all of your research ahead of time. That way you know what matters most to the story and how best to capture it. I would also make sure I have earned the trust of everyone I will be filming. I never bring the cameras out until I know I have the complete trust of the featured individuals. As a filmmaker entering their sacred grounds, they need to know that you are on their side.
What is your best practical or technical advice for organizations just starting to work with video?
Have confidence. When talking to filmmakers, many people feel like they can’t contribute much to the conversation about the creative process. This isn’t true. Films aren’t made for filmmakers, they’re made for general audiences. People without film experience tend to have a great sense about what “feels” right in a movie, even if they can’t use textbook terms to describe it. So go get your hands dirty and have some fun.
