Laura Israel started editing award-winning commercials and music videos while a film student at NYU. By the time she graduated she had formed her own editorial company, Assemblage. “Windfall,” her directorial debut, premiered at the Toronto International Film Festival and won top prize at Doc NYC. Israel was named in Filmmaker Magazine’s 2011 “25 New Faces of Independent Film.” She is currently writing a script for her next film, a narrative feature.
“Don’t Blink — Robert Frank” premiered at the 2016 BFI London Film Festival on October 5.
W&H: Describe the film for us in your own words.
LI: After the premiere, one of Robert Frank’s friends exclaimed, “It’s a film about Robert Frank and his friends!” and I think that is true. Everyone in the film is close to Robert and June personally, and this is a conscious decision that I made.
I wanted the viewer to feel like they are stepping into Robert’s world, as if they are one of his close friends — just hanging out discussing photography, film, and life, and getting to know him on a personal level. I think this is the perfect way to give context to someone’s art, and the type of film I’d prefer to see.
W&H: What drew you to this story?
LI: I was not drawn to this story — someone at the IDFA festival insisted I do the film because Robert Frank declined so many other directors. I resisted at first, because it was an uncomfortable role change for me. I have worked as Robert’s editor for so many years, so I know him well — but now I would be directing him, the other way around.
It felt like a weird idea, but on the plane ride home I was looking out the window and imagining all these scenes to shoot: the car rides, in his workroom looking through papers, Robert sitting up on the hill in Mabou looking out to the sea. By the time I arrived in New York I had a whole notebook full of ideas.
W&H: What do you want people to think about when they are leaving the theater?
LI: I heard one person say they went out and bought a camera after seeing the film, and they had never been interested in photography before. Another told me they used to be a dancer and after seeing the film they wanted to dance again. A friend told me he left the film and skipped down the street. A woman who attended the film with her daughter wrote me that she was happy that her daughter was able to see how artists need to live in order to create and do good work.
These all illustrate perfectly what I had hoped for viewers to take away from the film. We had an amazing time making it, sparks were flying all over the place. It’s been rewarding meet people from all over the world and to [share that spark] with audiences.
W&H: What was the biggest challenge in making the film?
LI: The biggest challenge in making the film was actually getting Robert to participate. I figured that if he said yes, I kind of had to do it because he had declined so many others. Once he agreed, he said, “Let’s start next week.” I was not prepared for that!
Luckily Lisa Rinzler, who did our principle cinematography, called me later that day saying how excited she was that she had knocked on Robert’s door and showed her photos the day before. Robert told me he liked her a lot. It was fate!
The other challenge was that I told Robert there would be a small crew, only one other person, though we did we end up stretching that to two people. Robert liked that idea and I think it was one of the reasons he agreed right away.
I found out later that was what he had promised The Rolling Stones when he made “Cocksucker Blues” — he would only bring one other person, Danny Seymour. It was an incredibly challenging way to shoot, but I think that’s one reason why the film seems so offhanded and personal, almost like watching a reel of out takes.
W&H: How did you get your film funded? Share some insights into how you got the film made.
LI: We got a little bit of funding, then a little more. It came in spurts, from all different places. Producer Melinda Shopsin is very patient and great at explaining this to me. I tend to throw things out there in a big way and if nothing happens, I give up. Melinda was really good at patiently hounding people in a really nice way — also something I would never do.
We created a short trailer and used it at a couple of pitches. Then we got a little funding and used that small step to take another and another. This takes a lot of patience and staying focused. Meanwhile, simultaneously we were making the film. Then we built up a longer trailer, and we got a little more money. The final version of our trailer ended up being the first three minutes of the film.
W&H: What does it mean for you to have your film play at LFF?
LI: I love London and it is a great opportunity to screen the film there. The editor/art director on the film, Alex Bingham attended art school in London. The fact that Alex is a painter, sculptor, and collage artist was really a big reason why the film turned out looking the way it did.
I also love British music and there is a lot in the film’s soundtrack. In fact, the first project I worked on with Robert Frank was a music video for the band New Order. And last but not least, there are so many wonderful films screening at London Film Festival. It’s great to be in such good company.
W&H: What is the best and worst advice you’ve ever received?
LI: Best advice: Don’t ever get involved in working with someone you wouldn’t enjoy sitting down to dinner with. I have found this to be consistently true.
Worst advice: You should stick with editing because you’ll never be able to get a job directing. I feel so drawn to getting really involved with a project from start to finish that it’s difficult to imagine just being hired to do one part of it now.
Commercial jobs are different because they are short, and I do love telling a short story. They usually have a more defined purpose from start to finish and they are easier to forget about when they’re over, so I only understand this advice in relation to commercial editing.
W&H: What advice do you have for other female directors?
LI: Surround yourself with good people. When you find talented people to work with, nurture those relationships: It is a two way street. I always try to give back when I can to those who have gone the extra mile for me, and it has always been rewarding. This industry is so difficult to maneuver and the only way to do it is by sticking together.
W&H: Name your favorite woman-directed film and why.
LI: Lina Wertmuller is my favorite woman director. When I attended film school, she was my inspiration. “Love and Anarchy,” “Swept Away,” “ Seven Beauties” — these were all great films. They also had a wonderful mix of political satire and iconic style. They were not necessarily about women, but the women were strong and complicated. I also loved that Lina wrote and directed these films. I loved Italian cinema, and was also influenced by Michelangelo Antonioni, Federico Fellini, and neorealism.
W&H: Have you seen opportunities for women filmmakers increase over the last year due to the increased attention paid to the issue? If someone asked you what you thought needed to be done to get women more opportunities to direct, what would be your answer?
LI: I guess we’ll just have to keep making good films and pushing hard for them to be shown. The funny thing is, I didn’t notice difficulties with being female working in this industry until I became a director. When I first started as an editor many moons ago, the only women in the post house were the receptionist and I — although we were usually dressed very differently. It really didn’t bother me.
Recently, several people have told me if you are a woman, the moment you call yourself a director, the phone stops ringing. I hope this is not true because I am going to forge full steam ahead!
