Volunteers Needed

We are looking for help with our documentary film, in the form of additional volunteers. If you, or someone you know, is interested in being a part of our documentary film please share this post with them. If they want to volunteer something other than what is listed below, I welcome a more in-depth conversation. Feel free to connect via email, Twitter, LinkedIn, etc., with ideas or support.

Those interested in these positions should be ready to learn about the Montagnard-Special Forces story, be committed to the project, and work directly with me on a daily/weekly basis as required. We understand that circumstances change over time, but seek people committed to the project's success to the end. We hope to have the project finished in the coming months, and seek the following support in order to help it move along faster.

Currently, we are seeking the following:

• Video Editor(s) We're looking for support from people who know how to shape a documentary story using Final Cut Pro on a Mac platform. Matt and I are currently editing the story, but in order to speed up this process I need the help of additional video editors. This person either has their own equipment, or is willing to use the equipment we have available. Someone who can work 4-6 days a week would be ideal.
• Production Assistant The project has grown a great deal since it started in March 2008. To help manage all of the details, I'm looking for the support of a production assistant who will partner with me to keep things moving forward. This person must be reliable, trust worthy, attentive to details, obnoxiously organized, a self-starter, and ridiculously motivated. The volunteer position would presently require only a few hours a week with a set schedule and list of tasks; however, as the film nears completion, the production assistant may gain additional opportunities (coordinating screenings and Q&A sessions, for example).
• Communications Coordinator We are currently in post-production, but when the film gets closer to wrapping I will need the support of someone well versed in coordinating all communications efforts: writing press releases, talking to the media, creating fact sheets, making phone calls, answering phone calls, etc. This person is the ultimate diplomat, has unbelievably great etiquette in person and on the phone, enjoys writing/editing, responds to inquiries in a timely manner, isn't afraid to make cold calls, and wants experience working with the news media. We will start working together now, in preparation for the completion of the film. At that time, the level of time required for this volunteer position may grow.
• Social Media Assistant(s) Someone equally fascinated with the world of social media is ideal for this position. They think about Twitter, Facebook, blogging, RSS feeds, SEO, link building, and more all the time. This person really understands the power of social media, but is also a savvy writer. They know the rules of the game, seek a chance to practice what they've learned, and want to share what they know about social media with certain members of my cast/crew. Analytics and measurable results excite this person, and they want to report these figures to me on a regular basis because they are thrilled with the work.

If you have any questions about any of the previously mentioned volunteer positions, please let me know. We are growing the team, and want to work with only the best. It's an unpaid gig right now, but will most assuredly lead to big opportunities down the road. This ain't the only film we'll be makin'. ;)

The Interview with John Plaster

Friday was the big day. I woke up too early. It's hard to sleep the night before an interview, I have found. I get so worked up about it, that I can hardly rest. Remember what it was like to wait for Santa to come? How can you sleep when you know what excitement will come in the morning!?

Timeliness
Because I was using my cell phone as a watch, I almost showed up for the interview an hour early. Thankfully I remembered that my phone was still on EST, but managed to still show up 10 minutes too early. I was used to leaving 20 minutes early to get anywhere, and forgot how conveniently close the Inn was to our film location.

It was, again, an important lesson. When a Special Forces guy tells you a meeting time, they keep their word. Ironically enough, I had been watching the Military Channel the previous day while working. A show about training for the Marines was on, and one of the exercises was about detonating explosives at a specific time. They were four minutes late. And got into some serious trouble because they didn't follow directions. Mistakes like that lead to casualties in the field. It's important to know you can rely on that soldier to do what is asked of him (or her), like detonating or showing up on time.

So, needless to say, I felt pretty terrible about showing up 10 minutes early. And since the filming location was a quiet little area, I couldn't very well sit in the car and look like a stalker waiting for those 10 minutes to pass. By the time I got out of the car, the door opened and they were there to greet me. And did so with a smile, I might add.

Setting Up
About half an hour later, we were set up for the interview. Actually, I could have been a full hour. I am very meticulous in framing the shot now, and have no misgivings about making the world stop until I have it set up the way I want it to look. It's taken me a while to get there, but I finally make no excuses for taking my time to do it as great as I possibly can. Hopefully that will pay off in the end.

Finally, we sat and turned on the camera. John began to answer my first question, and as I listened with the headphones on I realized that I missed a connection. The wireless mic wasn't being picked up by the receiver. No, wait, the receiver was picking it up because I had a green light. Aha, I had missed a very important cable--the one that connects the wireless mic receiver to the camera itself. We paused to look for it.

It was nowhere to be found.

I looked inside every piece of luggage. Inside every pocket, every corner, every place I had touched since I walked into the room. It was nowhere. Nowhere!

I flashed back to the moments at RDU, fumbling to shift the weight of my luggage around so that I could check my bags. Had it fallen out then? I always look over my shoulder as I walk away to make sure nothing fell. Nope, didn't remember seeing it there when I looked back. Was it resting comfortably in the camera bag I left in Raleigh to make the suit case lighter? Nope, I had checked that twice before leaving.

If there's one thing I had done, it was pack and repack and then check everything again. When you leave your house, you'd better have everything you need for that shoot. Otherwise, you'll miss your flight or later waste precious time trying to buy the thing you've forgotten. I still couldn't find it. And by this time, I was starting to break a sweat, angry at myself for letting something so silly as a connection cable like that waste my precious interviewing time.

Oh, my kingdom for a cable!

I surrendered. And took off the wool sweater that was helping me turn red with anger over such a silly missed detail. We sat down to start again, and John was ever so patient with me. We started rolling the tape.

The Interview
Having read his books, I was prepared for our interview. But, I confess, reading the stories and hearing them in person quite different. I found myself struggling to restrain against sitting back to listen with undivided attention. Like a kid at story time, I wanted to sit with my legs crossed and my chin resting on my knuckles and stare in fascination at what would be shared next.

Acting as the director and interviewer, though, I did my best to listen, zoom out when he used his hands, and still be prepared with my next questions so the transition from one answer to another would be logical and seamless for him.

It's been really interesting to compare each interviewee against one another. Some of them are slow to answer, others are very succinct and eloquent, and most of them are well versed in giving interviews. I feel so lucky to be speaking with them, and appreciative of their patience with a new filmmaker.

In two short hours, we wrapped the interview. My legs were restless, but I could have sat and listened to him talk for the rest of the afternoon. We stopped the tape, and he left me to strike what had become our set as he prepared our lunch.

John and Gail served me one of the best roast beef sandwhiches I have ever tasted (or probably will ever taste). John had made them, and--wow--was it delicious. I learned that John was a cook at age 17. I can hardly remember what I was doing at 17. Perhaps life guarding? I was very impressed, needless to say.

Post-Interview
The rest of the afternoon we spent looking through photographs and scanning in the ones we thought would be most helpful. I came home with a striking collection, and really look forward to using them in the film.

What a relief it is to start collecting visuals! I have been quite anxious about how to collect these, knowing that I would need them, but not able to focus on that effort just yet. While in the midst of filming, it is tough to start working on post-production efforts like collecting images. I recognize that now we have wrapped filming, and collecting those has become quite easier with the help from many key folks (more on that later).

After we wrapped those efforts, we took my equipment back to the Inn and headed to The Flying Eagle for a fish fry. It was delightful! We stepped out of the vehicle into the frigid air, and the view of such a clear starry night sky was unforgettable. I have not seen stars like that since I lived in my hometown in Eastern N.C. Not a cloud in the sky, just a big blanket of twinkling stars above.

In short, the entire day was one dream come true after the next. The interview, scanning the images and the delicious food made for one amazing day. This, my friends, is the type of thing you only see in movies because it's almost too good to be true!

Ready for Sleep!

What a long, delightfully exhausting day.

Woke up around 4:15 and finally left Raleigh at about 6am. Arrived in DC safely and started filming at Arlington National Cemetery. Then filmed the Vietnam War Memorial and other key landmarks. Finally back to the hotel around 6pm, and completely wiped out. Relaxing just a bit before preparing for tomorrow's interviews and then crashing early tonight. Weather wasn't great, but it held out beautifully. The fall leaves against the darkness of the trees was stunning. A great day for taking still photos. I can't wait to review the footage.

Also, if you care to follow us on the trip, I'll be texting updates here: www.twitter.com\cammicam! I can also upload photos taken with my cell phone to my Facebook profile, so if you're on there friend me and view photos I upload instantly! Here are a few nevertheless!

Kennedy Center



Washington Monument


I made blueberries on Thursday so we could have something yummy for breakfast. We gave two to ladies at a ticket booth later that day, and they were so happy!

Moving Midway

Last Saturday, after I returned from Fayetteville I came home to unpack my equipment. Fairly immediately I went to Durham to watch the movie Moving Midway, where the filmmakers were in attendance for a question and answer session. How divine that I could come back from interviewing Col. Donlon and immediately go to such an event.

It was a good, locally shot film. I'm excited to see that it's gotten reviews from publications like The New York Post. It was odd to see a place I had visited years go now there in front of me on the big screen, and even stranger to see people I know interviewed for the movie. I can only imagine what excitement I'll feel to see my own film in a theater. (Gasp! What excitement!)

When my friend, Chris Moore, showed his short film Hard Stapled at the All American Film Festival, it was so incredible to see it in a theater full of people and hear them laughing in unison. What a great feeling to see my friends on the screen and hearing a chorus of laughs, knowing each of the people involved in the project. You almost have to pinch yourself to believe that it's real. And then, if you're the filmmaker, celebrate because you got the reaction you'd been hoping for while working on it. You sit there working in a semi-vaccuum and it's hard to know until you screen that film if you'll get the reaction you want.

On Saturday night, I sat in the audience as Godfrey Cheshire, the writer/director/producer, and Robert Hinton, chief historian/associate producer, sat before us to answer questions. Many people asked about the race relations, the house, and why it had to be moved. They asked questions until our time was cut off, and the conversations moved into the lobby for the next screening. I felt a tinge of disappointment, mostly at myself for not asking the questions I wanted to hear answered.

Immediately I flashed back to my experience at the Kilowatt Ours second debut in Durham, where everyone wanted to talk about anything but the filmmaking process. In front of us stood Jeff Barrie, a filmmaker showing his piece of work, and not a single person asked about the process. I wanted to stand and shout, "Tell me how you did it!?"

On Saturday night, I had to remind myself that these are people there to see the film because they care about the subject matter. It's not a room full of filmmakers, or geeks like me who want to full behind-the-sceens story. And, that's a good thing. That means the film and marketing have done their jobs--brought people out to the theater to watch movie about something they want to see.

Last Saturday I didn't chat with Cheshire (people were swarming around him), but I overheard some of my questions asked by others. You can learn a lot when you listen to conversations. I heard his answers. Throughout the film, I kept wondering about the timeline. When did he start the project? How long did it take to get to this point, here, tonight, in front of this audience? Then someone asked and I heard his answer.

He started filming it in 2003. Released it in 2007. And started screenings in 2008.

Five years?! Oh, my heart sank! I know that we've only been working on our project since March 2008 (now 8 months), but I cannot fathom it being released in 2013! Already, the number of interviewees has tripled, and we are well beyond our original deadline of completing it by September. Yes, we set these deadlines ourselves, and we went beyond the original scope of work--but the thought of having to wait that long to finish this project is painful.

I know I put too much pressure on myself. That's a given. But I have this fear that--because I'm working full time--the project is going to take a lot longer to finish. And, I'm notoriously terrible at finishing anything anyway, so I also have this fear that something will keep me from wrapping it all up the way I have envisioned it. I suppose we all have this buzz of "what-if" thoughts, like annoying mosquitos flying around screaming our fears at us constantly. We are much more fragile than we appear.

My heart sank in that moment because I'm so anxious to finish our project. Everyone is asking me about the film, how it's going, and when it'll be finished. Maybe that's just small talk, or maybe they genuinely care. Either way, I am doing my best to be patient so that we have a final product that is as excellent as it can possibly be with our given constraints. That's the most important thing to remember. Not these fears and doubts.

Oh, fear. Fear is a killer. Improv has taught me that fear is a silly, silly thing. A waste of time, really. We must face our fears and get on with life if we ever wish to accomplish anything. Doubt is the same way. We cannot fear and doubt ourselves, or we shall never cross the finish line. You cannot get on stage with nothing more than trusted teammates and an audience's suggestion, if you don't move with confidence and energy. It's impossible to have a good show if you're not making bold moves, casting fear and doubt aside like the infectious waste that they are.

Visualization. There is a powerful tool. That's something you want in your back pocket, like a fly swatter when those pesky thoughts just won't stop. "I think I can,...I think I can,...I think I can." A silly children's story, or a life lesson?

It is of the utmost importance that we finish this thing with integrity and honor because the subject matter demands it--and we demand it. We want it to be as great as we can possibly make it. But I think I will explode if it takes us five years to finish!

Seeing Moving Midway on Saturday sent me through a whirlwind of emotions. Some of them I was very familiar with, and others I was not prepared to feel. For example, Jay Spain, producer/cinematographer, and I shook hands and spoke for a while. I asked him a bunch of questions. He was very kind, which is one of the reasons I really like local events like this in North Carolina. Everyone's so kind and generous with their time and attention, something that's rare these days.

Then he turned the tables. He asked me if I was a filmmaker and I fumbled. A simple "yes" would have done, but I struggled to say it for some reason. I think I'd gotten so caught up in seeking answers that I didn't have my networking mindset on. Just as I have formed an elevator speech for the film's subject matter, I will now have to grow accustomed to identifying myself as a filmmaker. What a joy!

Pinch me! I am becoming a filmmaker.