Filmmaking | Interviews

Fantasy World

1 Jun , 2002  

Written by Hillary E. Cutter | Posted by:

Filmmaker Jane Gillooly discusses her latest film 'Dragonflies, The Baby Cries' now on tour with the Alloy Orchestra.

Having built a reputation for producing smart and serious documentaries, producer, director and educator Jane Gillooly decided to try something new. Originally trained in the fine arts at the Massachusetts College of Art, Jane Gillooly’s first documentary "So Sad, So Sorry, So What" was a still photograph slide show adapted for video chronicling the life of a female inmate with AIDS. Her later documentary "Leona’s Sister Gerri" reconstructed the events leading up to the death of Gerri Santoro from an illegal abortion. The film brought her national attention with an airing on PBS and winning numerous awards including a Bronze Apple from the National Educational Film & Video Festival.

Contrasting these earlier works, her latest film "Dragonflies, A Baby Cries" is both a short and a narrative. Yet not surprisingly, Gillooly has created a beautiful and lyrical black-and-white film that explores children’s fantasies and the power of their imaginations. As well, the film provides a unique theatrical experience when accompanied by the original score performed by the world renowned Alloy Orchestra. Here, she talks with NewEnglandFilm.com about her inspiration for the film and her experience in the industry.

HC: What was your inspiration for this film?

Gillooly: I was working on a documentary with the working title "Truth be Told" where I was gathering stories about repercussions of secrecy. The first story was about Catherine Power who was on the FBI’s most wanted list. She went underground because she was wanted for murder, changed her name and adopted a new identity. Her child didn’t know who his mother was. When he was 15, she turned herself in. I was going to work on the affect it had on her kid. The next story was about a kid who grew up in a cult and didn’t know who his father was until he was in his 20’s. The third was about a little boy with a secret friend and place and his ways of dealing and coping with the world.

The fiction part of the film is what I was writing. It was really intense and very personal. I got the sense I was being too intrusive and I was afraid I might not be able to raise the rest of the money. What if I invaded their lives and it didn’t work? I canceled the project that was going on for 2 years. I regretted not doing the fiction aspect of that film and started thinking about doing a silent film. My husband Ken Winokur is a producer of The Alloy Orchestra and I thought I could distribute a short film through them if they did a score for it. Since they are an orchestra they have a particular sound. I needed it to have more action. I wanted it to be dark and twisted — have innocence and twinge with spookiness. Kids like to be scared and they love it. That’s my kind of movie. Pretty different from the little story about the boy.

HC: Do you find that your audience is different since this is a film accompanied by an orchestra? Has it attracted a music crowd that you don’t normally see in independent film viewers?

Gillooly: The orchestra aspect of the film hasn’t really changed the typical indie audience. However, demographic-wise the audience is all over the place. There isn’t really an audience that we are focusing on. It is for people ranging from their 20’s to 40’s. It’s more of an adult film with a kid’s subject matter. When I made it I wanted kids to see it and I am happy with the reaction from the children who have seen it. It has a witchy quality to it. Some people wonder whether adults might take offense to it because of the wicked references.

HC: How do you support yourself as an independent filmmaker? Was it easier to raise money for Dragon Flies since you had several movies behind you?

Gillooly: I have been an adjunct professor [at the School of Museum of Fine Arts] for 14 years, and my colleagues are very supportive of my work. Although we are competing for the same funds and venues there is no animosity among the filmmakers I work with.

Since "Dragon Flies" was a short I didn’t want to have to think about grant writing. I figured I would make the money back on the distribution. If I stopped to raise money, the kids would grow up. The whole reason I wanted to do "Dragon Flies" is so I could be immersed in the creative and not worry about the money for once.

HC: Do you find that doors have opened up for you since you have been a documentary filmmaker for 15 years?

Gillooly: Sort of both but in some ways it’s harder. Exposure opens up doors but as a documentary filmmaker the door only opens so wide. It’s quite a struggle to keep your foot in the door. I am more mature and well known so I am not afraid to pick up the phone and call people. I feel comfortable calling someone at HBO or PBS and have developed relationships with a group of people in the industry I can brainstorm with. There is also a network of people where we can swap equipment. However on the flip side there are people who can afford a camera but don’t understand the other aspects that are involved with making a film. If you decide to do it as a career you realize that unfortunately a large percentage of it isn’t the fun stuff. It’s the distribution, managing your staff, the publicity and grant writing.

The other thing that is difficult is that the technology changes. I made four films in once decade and only one had two versions. One was the slide show that became a film. Every time I make a film the technology changes radically. It becomes really frustrating. The camera I start shooting with becomes outdated or the editing system moves from linear to non-linear or Media-100 to Avid to Final Cut Pro all in one decade.

HC: What are you working on next?

Gillooly: I hope to start shooting something this summer in Mexico. What it becomes I am not sure yet. It’s a combination of a fiction film inspired by a surrealist novel by Leonora Carrington and the History of the Apron.

You can see ‘Dragonflies The Baby Cries’ on June 8th at the Woods Hole Film Festival and Boch Center for Performing Arts at the Mashpee High School, Mashpee, MA. For more info: www.woodsholefilmfestival.org or e-mail woho3@aol.com ‘Dragonflies’ is on tour with the Alloy Orchestra, screening at festivals, and can be seen on the Sundance Channel.


You can see 'Dragonflies The Baby Cries' on June 8th at the Woods Hole Film Festival and Boch Center for Performing Arts at the Mashpee High School, Mashpee, MA. For more info: www.woodsholefilmfestival.org or e-mail woho3@aol.com 'Dragonflies’ is on tour with the Alloy Orchestra, screening at festivals, and can be seen on the Sundance Channel.

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