Director Greg Kwedar’s film looks at how a real-life prison arts program offers inmates a powerful form of escape on the stage: “There are a lot of good people in prison who made poor choices or bad mistakes.”
The filmmaker first went inside a maximum-security prison while he was waiting for his feature directorial debut,, to bow at SXSW in 2016, and helped a friend shoot a short documentary on life inside the prison. While filming he saw an inmate in a cell with a rescue dog, participating in a popular prison program that pairs incarcerated individuals with puppies and dogs who they are tasked to train.
Domingo credits his scene partners with inspiring a performance he calls “the most open and raw that I’ve ever been. You can’t lie. You can’t lie with these guys.” Prior to production, the actor, who is seen as an early award frontrunner with Netflix feature, would call Maclin to help establish their onscreen relationship. He adds, “I did not think it was important to know about why he was ever incarcerated.
Another prong of the filmmaker’s “community-based” approach includes how cast and crew are compensated. “It is a model of equality throughout the entire cast and crew, with everyone getting paid the same rate,” explains Walton. Put simply, everyone working on, from Domingo to the production assistant, was paid the same rate — based on SAG weekly or daily minimums, depending on how long they worked on the production — and everyone gets equity in the film.
Kwedar adds, “A traditional hierarchical pay structure — where only a few at the top held all the ownership and were paid at a hugely stratified rate — would find its way into the experience on set. I don’t know that we would’ve had as open and as warm and as honest of a set. It directly impacts the storytelling. Everyone is actually a partner versus an employee.” WithAs for RTA, the current executive director, Leslie Lichter, hopes that the film will help with a possible expansion.
France Dernières Nouvelles, France Actualités
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