When I set out to produce my first feature-length documentary, Brothers On The Line, I knew that a tricky funding and distribution road lay ahead. Narrated by Martin Sheen, the film explores the lives of my grandfather and great-uncles, Victor, Roy, and Walter Reuther, firebrand labor organizers and social justice statesman for the once-powerful United Auto Workers union. Before presenting a frame of footage, the subject matter was enough to draw a line in the sand in regard to who would be willing to provide support and dissemination (even though the finished piece is much more of an American history perspective than anything close to a Michael Moore exposé.) According to top TV broadcasters, we could not hang our hat on a large amount of financial support from unions, as that would be perceived as a “conflict of interest” when it came to distribution.  So, stripped of our largest potential source, the dilemma pushed us into a cautious dance of how and where we could raise the necessary production monies.  The alliances established along that journey, with historical societies and advocacy groups, would open unexpected doors when it came time for our non-traditional film festival run.

Uptown/Detroit Independent Film Festival — Winner, Best Michigan Documentary

Detroit was undoubtedly ground-zero for the film, as the story focused on the auto industry and its workforce.  My team and I spent countless hours at the Wayne State University labor library and other historical archives around the state of Michigan. Relationships with local researchers led to an introduction to one of the directors of the MotorCities National Heritage Area, an affiliate of the National Park Service dedicated to preserving the automotive and labor heritage of the state. The mutual benefits were obvious, as the film was unearthing a vast amount of Michigan history keen to MotorCities and we were certainly excited to link up with any statewide network. But, I’d never heard of a “national heritage area” before so, it warranted further investigating.  A National Heritage Area is “a region that has been recognized by the U.S. Congress for its combination of natural, cultural, historic, and recreational resources that have shaped a cohesive, nationally distinctive landscape.”

There are 49 such areas across the country and many have established grant programs to support local interpretive projects (including films!)  Outside of my Detroit legacy, the family has roots in West Virginia, leading me to approach the Wheeling National Heritage Area as well.  Since the documentary at least briefly covers those early years, we were at first eligible for a modest Mini-Grant ($1K), which soon grew to a larger Partnership Grant ($6K) after the Board screened our rough cut.  For those producing a film on any aspect of American history or culture, I highly recommend exploring an applicable Heritage Area.  There’s no guarantee of funding availability but, making contact could lead to benefits in other areas. When we reached completion of Brothers On The Line and the film was accepted into the Uptown/Detroit Independent Film Festival as our World Premiere, The MotorCities National Heritage Area launched a campaign of blogs and Facebook messages in advance of our screening dates. TV and radio interviews followed, boosting attendance at this up-and-coming festival and prompting organizers to add a second showing of the film. The free and far-reaching promotion proved to be just as valuable as the earlier grant awards.

Tales From Planet Earth Film Festival – Madison, WI

Aside from historical societies, a number of advocacy groups also played a role in my film’s progression. The Reuther brothers were not just workers’ rights activists; their commitment spanned a broad range of social movements: civil rights, community organizing, voter registration, national healthcare, anti-war, the environment, etc. Unable to cover all of these issues in the eventual 80-minute film, I nonetheless made the effort to reach out to any group who might have a special connection to the material, no matter how slim. During the process, I began an email exchange with The Nelson Institute at the University of Wisconsin-Madison.  I was researching the UAW’s environmental activism and The Nelson Institute has one of the leading programs in that field, named after the late Senator Gaylord Nelson, founder of Earth Day. (The UAW was a financial contributor to the first Earth Day in 1970.)  While my communication did not result in funding, the staff at the institute were particularly intrigued by my film for its progressive message and offered to consider it for their annual Tales From Planet Earth Film Festival.  Acceptance into that festival was providential, not just because they provide a screening fee AND honorarium (very rare these days) but, primarily for its location.  If Detroit is the root of our story, then Madison, WI represents the current heartbeat of labor activism.  It was the home of last year’s Madison Uprising in which embattled public sector union members took to the streets after Governor Scott Walker slashed their pensions and benefits.  I couldn’t have asked for a better stage from which to link current affairs to our historical documentary. Brothers On The Line drew a full-house crowd at the festival and was immediately embraced by the South Central Federation of Labor, which set-up their own special screening the following night.  In stretching the boundaries of my “cause” film and throwing the fundraising net a little wider, I was fortunate to catch an ally that paid off with patience. What at first appeared to be a disappointing dead-end in regard to financial support, transformed into the ultimate contact list for today’s frontline activists, all eagerly anticipating our home video release.

Washington DC International Film Festival – Nominee, Justice Matters Award

The final resource worth mentioning here did not come from earlier legwork but, actually arose directly from a festival acceptance. If given the opportunity, I knew the documentary would play well in the DC area, as there are a plethora of activist groups to attract and it happens to be my hometown. American Rights at Work and The International Labor Rights Forum, two Capitol Hill based advocacy organizations whose missions support workers’ rights, were great partners in our completion efforts.  However, upon selection into the Washington DC International Film Festival (a.k.a. FilmFestDC), one of the most promising associations was with Teaching For Change, a non-profit organization promoting social and economic justice in the classroom.  In coordination with FilmFestDC programmers, Teaching For Change selects one documentary from the annual festival slate that has potential in the educational market and invites the filmmaker to participate in preview screenings at area high-schools.  Brothers On The Line was chosen and two classroom visits scheduled.  The junior and senior-year students watched the full film prior to my arrival and I came in for a follow-up discussion.  We had an in-depth chat on U.S. history and film technique in both settings; each class with their own unique commentary.  One of my goals for the film is that it would have a long educational shelf-life and this “test-screening” was priceless. The students’ honest observations caused me to view the film in a new light and will aide in the preparation to promote to a younger audience. In discussing their favorite scenes, we also touched on what they might cut out, which could be helpful if I ever need to bring the film under an hour for TV. (Note: be prepared when asking that, as the answers could be brutal!)  Even if not initiated by FilmFestDC, introducing yourself to Teaching for Change is a must when it comes to social justice meets educational filmmaking.

Brothers On The Line was produced before crowd-sourcing really took off so, we relied heavily on nurturing personal relationships. Some offered a modest yet immediate boost; while others revealed their worth in the final hour. But, what I didn’t realize at the time is that all alliances made during production were actually shaping our film festival run.  From New York (Workers Unite Film Festival – Best Documentary Feature) to California (Mendocino Film Festival – Audience Choice Award), our non-traditional circuit has been deeply gratifying as the enthusiasm of our supporters is the driving force behind our success.