SFFILM Exclusive

In a way, BlackBerry, SFFILM’s Sloan Science on Screen Award recipient that screened at the Festival on Monday, Apr. 17, began with DIY woodworking videos on YouTube. Producer Niv Fichman (The Saddest Music in the World, Antiviral) approached Operation Avalanche writer/director Matt Johnson and writer/producer Matthew Miller with the proposal that they adapt the book Losing the Signal: The Untold Story of the Extraordinary Rise and Spectacular Fall of BlackBerry, about the once popular precursor to modern smartphones. Finding those videos turned out to be key to cracking the story.

The story behind the making of BlackBerry

The book by Jacquie McNish and Sean Silcoff spun the tale of Research In Motion (RIM), the Waterloo, Ontario, company that invented the BlackBerry through the eyes of its two CEOS, tech geek Mike Lazaridis and hard-charging businessman Jim Balsillie. What Toronto native Johnson wanted to find were opinions of people who had worked at RIM. His brother-in-law is an engineer and through him, he learned of the connection between that profession and DIY projects, leading Johnson to scour YouTube until he struck gold when he discovered that one of BlackBerry’s original engineers later started his own woodworking company, posting videos about his projects. Johnson reached out and managed to overcome the man’s initial reticence.

“He really opened up from his perspective as just an engineer on the ground,” Johnson said during a phone call in the days leading up to the Festival. “He told us everything that was happening in the day to day. That’s when it clicked with us that this company, yes, is an engineering firm. But to us, it’s a lot like what it’s like to start a filmmaking career. You’re working with your friends, you’re working all day, and it’s fun. You don’t go to work for the money. The camaraderie is more important than either the product or the compensation.

“That’s when it really took off. We came up with this structure, a story about a kind of exciting startup culture that gets transformed through success into a corporate culture. That is when, all of a sudden, we knew what the characters needed to be and we were able to dig into all of our research from that angle. So that was a real lightning moment for us.”

Fichman originally hired Johnson and Miller merely to write the script, but as the pair threw themselves into the work, it became apparent that they wanted to tell the story themselves. Miller became a producer. BlackBerry became Johnson’s first feature since Operation Avalanche and he took on the role of Doug, Lazaridis’ closest collaborator at the beginning and the company’s amiable and goofy conscience.

“Basically, as soon as I realized this was an opportunity to tell the story of my own life, I thought, ‘Well, it wouldn’t be right to write it and put it in somebody else’s hands,’” Johnson said. “It wasn’t that I wanted to do it so badly, but because I thought, ‘Well, what we’re writing is really not going to be manageable by somebody who hasn’t exactly lived through it in the same way. Niv agreed one to one. He was an amazing partner.”

The Trotsky’s Jay Baruchel came aboard to play the silver-haired Lazaridis, a man perhaps too invested in his company’s product, while It’s Always Sunny in Philadelphia’s Glenn Howerton is the id of the piece as the energetic, crude, take-no-prisoners Balsillie. BlackBerry represents another step in the evolution of Johnson’s career, after making his 2013 feature debut with the ultra-low-budget, Slamdance award winner The Dirties, followed by Operation Avalanche in 2016, in which film geeks working for the CIA during the Cold War get involved with shenanigans involving the space race and Stanley Kubrick–and a film in which Johnson and his crew managed to invade NASA.

What was it like to work on BlackBerry?

“By American standards, BlackBerry’s budget is quite small, 8½ million Canadian,” Johnson said. For me, it meant that all of the sudden I was working with the actors’ union, all of the sudden we were working with a crew of 40+ people and the marshaling and coaching that went on. It was so funny how life imitated art, trying to maintain the ethos of that early Research in Motion. We’re all doing this for the fun energy while knowing not only the stakes but also that there were way more people involved. I like to hope that some of that energy remains on the screen. That was, by far, the hardest part of the process.

“You may notice that we tried to shoot as much in the real world as we could,” he added. “A lot of the actors aren’t really actors. A lot of them are real people, all those engineers I’m surrounded by are all very young filmmakers from Toronto, who have no background in acting but have a certain vitality, a certain life. And we shot in all the real places Research in Motion actually was. We shot in Waterloo in a lot of the real factories. The kind of stuff was important. We didn’t necessarily break in to as many places as we did on my last film but certainly authenticity was important.”

What does Johnson make of the rise and fall of BlackBerry?

The story of BlackBerry reads like an Icarus tale, a company that flew too high and crashed and burned, as much a victim of corporate hubris as the invention of the iPhone, the product that slew BlackBerry with its more advanced features and sleek style. But Johnson sees another reason for the fall of Research In Motion and its phone.

“I think Michael Lazaridis really had a bit of falling love with his own product, to the point of obsession,” he said. “I think what the film highlights in its own small way is a kind of – I don’t want to say arrogance–but there is that myth of the man who makes a statue of a woman and he makes it so perfect, so beautiful, that he falls in love with it. It was like that with Mike, so that when all of a sudden there was another device that did things almost the exact opposite of what his did, his pride and love for his own creation made him completely blind to the positives of what the smartphone was going to become. He fell so in love with what he’d done that he was blinded by possible improvements, because he thought, ‘Well, this could never be better.’”

What can we expect from the in-person conversation?

Johnson expressed his delight at BlackBerry being chosen for Sloan Science on Screen honors and the opportunity it gave him to geek out with a scientist. He looked forward to the onstage conversation between him and physicist Joel Moore, the Chern-Simons Professor of Physics at UC Berkeley and a senior faculty scientist at Lawrence Berkeley National Lab.

“I’m thrilled,” he said. “I spoke to so many scientists, specifically from the Jet Propulsion Laboratory, when we were making Operation Avalanche, and my brother and brother-in-law are scientists. Although I am painfully ignorant of all sciences, I love the fact that I can interface with people who know what they’re talking about… I’m sure he knows so many things that I just teased in the film. He is going to educate me.”

See the full conversation here

About the Author

Pam Grady is a freelance writer, whose work appears in the San Francisco Chronicle, 48 Hills, and other publications. She also has her own web site.

Stay In Touch With SFFILM

SFFILM is a nonprofit organization whose mission ensures independent voices in film are welcomed, heard, and given the resources to thrive. SFFILM works hard to bring the most exciting films and filmmakers to Bay Area movie lovers. To be the first to know what’s coming, sign up for our email alerts and watch your inbox.

Mary Harron, whose latest film Dalíland screens twice at SFFILM Festival and who the festival pays tribute to on Friday, April 14, began her feature career in 1996 with I Shot Andy Warhol about the pop artist’s near-fatal encounter with deranged feminist Valeria Solanas. Harron later brought to cinematic life Bret Easton Ellis’ titular American Psycho, celebrated an iconic American pinup with The Notorious Bettie Page, explicated the life of a 19th-century murderess in her miniseries adaptation of Margaret Atwood’s Alias Grace, and explored the lives of Manson family killers in Charlie Says.

“One of the reasons why you start a film is your curiosity about a character and how to put them on screen and how to tell that story and make that story work,” Harron says in a phone call.

“Most of my stories have had characters who are kind of outsiders in some way. And I think I’ve also been interested in sort of the price of fame that’s kind of factored in a lot of them—not all of them but a lot of them.”

Why did Harron Choose Salvador Dalí

While an artist as famous as surrealist Salvador Dalí (Ben Kingsley) may not seem to fit the definition of “outsider,” at the time Dalíland takes place in the 1970s, he has fallen out of fashion. He is still creating art and he still has an entourage that includes his great friend, model Amanda Lear (Andreja Pejic), and a young glam Alice Cooper (renamed Alex in John Walsh’s script and played by Scottish actor Mark McKenna), but his days as an art world sun that the world revolved around are past him.

“He’s not in critical favor at all, at the time of our film,” Harron says. “It was a time of abstract expression and conceptual art, and his was representational art.”

Dalíland views the artist through the eyes of James (Christopher Briney in a memorable screen debut), a young gallery worker who enters Dalí’s world when he is tasked with bringing Dalí and wife Gala (Barbara Sukowa) money. Nicknamed San Sebastian by Dalí, he becomes embedded in their household, a regular at their decadent parties, and a witness to the Dalís’ tumultuous marriage and to Dalí’s art-making both as creative impulse and necessity in keeping afloat the couple’s extravagant lifestyle.

The film’s producers originally offered Harron a very different script, one more concerned with art fraud as high-quality photo copies of Dalí’s art are passed off as genuine lithographs. Dalí’s signature is real but what he signed were blank sheets of paper before the art was reproduced. That does work its way into Dalíland as a minor subplot but the main thrust of the film is Dalí and Gala’s lives in the ‘70s as well as their marriage. (Ezra Miller, who looks remarkably like the artist, plays Dalí as a young man in flashbacks with Avital Lvova as Gala.) That’s what captured Harron’s imagination and that was the story she developed with Walsh, her husband.

“It’s first and foremost, a story of a marriage, and also a less familiar time of his career,” Harron says. “We didn’t know that Salvador Dalí spent so much time in New York in ‘70s, that he was friends with Alice Cooper, that he was part of that whole world. Everyone thinks of him as surrealism in the 1930s. (Dalíland) is about marriage and this very unexpected aspect of Dalí’s career. I’d also say it’s about an artist facing death, old age and death.”

Connections Between the Filmmaker and the Film

The milieu of the film is also one familiar to the native of Canada who arrived in New York in 1975 at 22 shortly after graduating from Cambridge University. Though she was part of the punk scene and not the high echelons of the art world inhabited by Dalí that James enters, she knows the city of that period and the adventure of being young in it.

“New York was going bankrupt; it had hit the skids,” Harron says. “But it was also a really creative, wonderful, exciting time, culturally. It was a very fun time and it was sort of the end of glam rock. It was pre-AIDS. People were very kind of casual about sex and drugs. It was more playful, I think. People weren’t as worried about consequences.

“I wanted to capture a little bit of that party atmosphere and just a moment of a young person in New York,” she adds. “When you’re young, you can get swept up in something, because you’re young and unthreatening. You can just be invited places. You step on a merry-go-round, which is what happens with James. He stepped on a merry-go-round, and at some point, he gets thrown off but it’s still a fun ride. I wanted to really show someone on this ride.”

Harron is also proud of the fact that the film introduces audiences to Dalí’s late work. Pointing out that that it is not uncommon for an artist’s late work to be discounted or dismissed—she cites Warhol, Claude Monet, and Henri Matisse as examples—she and Dalíland make the case for Dalí’s relevance well into his twilight years.

“I feel like his work is so primal, and because it is about dream imagery, everybody in every country can appreciate it,” Harron says. “Everybody can understand dream life and the strangeness of it… I hope that people look again at some of the work he was doing in ‘70s. It’s just not true that all of his great work was in the 1930s. He continued to do interesting things and be inventive until the end.”

A Tribute to Mary Harron + “Dalíland”: 8:30 PM, Fri., April 14, CGV San Francisco. Click here for further information and tickets.

Dalíland: 7:45 PM, Sat., April 15, BAMPFA. Click here for further information and tickets.

About the Author

Pam Grady is a freelance writer, whose work appears in the San Francisco Chronicle, 48 Hills, and other publications. She also has her own web site.

Stay In Touch With SFFILM

SFFILM is a nonprofit organization whose mission ensures independent voices in film are welcomed, heard, and given the resources to thrive. SFFILM works hard to bring the most exciting films and filmmakers to Bay Area movie lovers. To be the first to know what’s coming, sign up for our email alerts and watch your inbox.

The Festival’s 2023 Mel Novikoff Award, named for the legendary San Francisco exhibitor and awarded to those who enhance appreciation of world cinema, goes to Firelight Media. Founded by award-winning filmmakers Stanley Nelson and Marcia Smith out of a desire to make their filmmaking lives more sustainable, the organization has moved well beyond that scope as the nonprofit expanded to support emerging documentary filmmakers of color. SFFILM Festival programmer Amber Love, whose short film, Lifetimes, was part of Firelight Media’s 2022 collection of regional shorts, HOMEGROWN: Future Visions, will engage Nelson and Smith in conversation as part of the awards presentation, followed by a screening of Nelson’s Emmy-nominated documentary The Black Panthers: Vanguard of the Revolution.

“It’s a thrill,” Smith says of sharing a stage with a filmmaker who has taken part in a Firelight Media program.

“And kind of surreal, but it’ll be fun,” Nelson adds.

How did Firelight Media begin?

Love is one of over 200 filmmakers that have come under the Firelight Media umbrella to date. The organization became operational in 2000. Nelson and Smith married and wanted to work together but it wasn’t practical given the nature of documentary filmmaking where projects can take years to reach fruition and raising money is always a struggle. It is a never-ending cycle. Forming a nonprofit production company to even out the highs and the lows of funding made collaborating on projects possible.

“That was really the inspiration for the organization,” Smith says. “The irony, of course, is we’re now supporting other people for the same reasons. That is still very much part of what we do. One can make the argument that documentary makers should be able to make a living making their work because what they’re doing is so important.”

In 2008, the company split into two arms. Firelight Films was born as a for-profit documentary production company under Nelson’s leadership. As president of nonprofit Firelight Media, Smith oversees the programs designed to help launch up-and-coming filmmakers, including its Documentary Lab; The Goundwork Regional Lab, which convenes in underserved communities to introduce the documentary world and apprise new filmmakers of opportunities that exist for them; and much more, including funding programs.

Smith says mentoring emerging makers was something that she and Nelson had been doing all along and it is something she says is common with documentary filmmakers. As that kind of work increased, it became evident that they should institutionalize the work they were doing.

“We built a structure and a framework to support other filmmakers, and that is what became the documentary arm,” Smith says. “That was the evolution of that.”

“Part of the realization came when I made a film called Shattering the Silence, which was about academics of color in major institutions all across the country,” Nelson says. “One of the things they constantly told us was that there was an extra expectation on them to mentor people. If you’re a Black professor, you’re supposed to mentor all the Black students you could gather. If you’re a Latino academic somewhere, you’re supposed to work with all the Spanish-speaking people. It made me think about that, that that was an expectation of filmmakers of color, and that there was a way to institutionalize that mentoring we were all doing anyway and that filmmakers would benefit if the thing was institutionalized and there was a structure.”

The Importance of Documentary Filmmaking Today

One thing Smith emphasizes is that while some think this is a golden age for documentaries, the ones that have the easiest time getting funding are celebrity-driven or true crime. The type of serious documentaries that Nelson and Smith make, like 2021’s Oscar®-nominated Attica (written and co-directed by Nelson and executive produced by Smith), and the kind of work being done by makers in Firelight Media’s programs still face challenges. Yet, the work they do is vital, particularly in light of mainstream media’s often shallow reportage and state governments, such as Florida, that are outright hostile to teaching subjects as basic as American history.

“We used to argue 20 years ago that documentaries played an important role because of mergers and the corporatization of newspapers and radio and television news,” Smith says. “But now, in some states, I think documentaries are going to be the only way you know anything about history. That makes the work all the more important. It was already important but now it is critical. It’s one of the things that gives me a powerful sense of mission.”

“It’s a cliché but we have to look at history in a clear light, the light of day, as we say. It’s just really that fundamental,” adds Nelson. “History doesn’t blame anybody; it doesn’t shame anybody.”

“One of the things that film does is introduce you to subjects in a very entertaining way. You might not want to read a 700-page book but you’ll watch a documentary that’s an hour long or two hours. You start to learn a little bit, then maybe you will want to read that 700-page book…As the media keeps shrinking, documentaries become more and more important, where you look behind the story and investigate the news. TV news, cable news are not doing that at this point.”

What began as a way for married filmmakers to work together and support their family has grown into something so much bigger as Firelight Media helps so many others achieve their own ambitions. When Smith and Nelson look back over the past 23 years, how do they feel?

“I feel really proud,” says Smith. “I think a lot of organizations that started in 2000 are not around anymore. But we are and we plan to be here on into the future, for the next 50 years. Because the reason we exist, it’s not going to go away. So, we plan to be here.”

“When we started out, there were two things that we felt. One is that this thing, Firelight Media, was sustainable, that we could raise money and sustain it,” says Nelson. “It’s been different. It’s very different from making a film where you raise the money and you’re done and now you make the film. This is an ongoing process, raising money.

“Two, and probably more importantly, there are filmmakers out there who are really talented and have great stories to tell. We can help them tell their stories. They can stand on our backs and make the leap. Every year we find more talented filmmakers than in the last. It’s been an incredible ride.”

Mel Novikoff Award: Firelight Media + “The Black Panthers: Vanguard of the Revolution”: 3:15 PM, Sat., April 15, CGV San Francisco. Click here for further information and tickets.

About the Author

Pam Grady is a freelance writer, whose work appears in the San Francisco Chronicle, 48 Hills, and other publications. She also has her own web site.

Stay In Touch With SFFILM

SFFILM is a nonprofit organization whose mission ensures independent voices in film are welcomed, heard, and given the resources to thrive. SFFILM works hard to bring the most exciting films and filmmakers to Bay Area movie lovers. To be the first to know what’s coming, sign up for our email alerts and watch your inbox.

A native of Guadalajara, Mexico, writer-director Lorena Padilla didn’t want a quinceañera when she turned 15. Instead of a celebration marking her journey from girlhood to womanhood, she asked for a trip, traveling north to San Jose to visit relatives. With two of her cousins, she spent a day in San Francisco, describing it as a rite of passage. Since then, Padilla collaborated on the story of Bay Area filmmaker Rodrigo Reyes’s documentary 499, but she never made it back here again. Until now, that is, as Martinez, her first feature, screens at the SFFILM Festival with Padilla in attendance.

“You have no idea how thrilled I am,” she says during a recent video chat. “It’s a dream come true…I feel like everything is falling into place. It is such an honor.”

What is Martinez about?

A Fantastic Woman star Francisco Reyes plays the titular character in Padilla’s drama that blends deadpan humor and poignancy. A Chilean immigrant who lived in Mexico for 40 years and spent decades at his office job, Martinez is thrown for a loop when human resources informs him that he must retire. Not only that, but he is also obligated to train his replacement, Pablo (Humberto Busto), an amiable goofball, under the jaundiced eye of Martinez’s office frenemy, Conchita (Martha Claudia Moreno). Meanwhile, the loner and lifelong bachelor’s life undergoes further upheaval when a neighbor he barely knew dies and a compulsion drives him to collect some of her abandoned belongings, further nudging Martinez out of his apathetic slumber.

When Padilla began working on her script, it was an attempt to understand her father, whose personality she describes as “peculiar,” something she used to struggle with when she was younger. But while she did gain more insight into her dad as she was writing, the project also changed.

“It started with that realization, ‘Oh, now I get it. Now I get why he was behaving the way he was behaving,” Padilla says. “It started like that and then it kind of evolved. I was talking about myself. Everything was kind of mixed up in that.”

What Inspired Lorena Padilla’s Story

A Fulbright scholar who got her MFA in dramatic writing at NYU’s Tisch School of the Arts, Padilla also spent a year in London, taking a course on art direction in film and supporting herself as a waitress. She would take the city’s red double-decker buses to get around the city and read the free newspapers. It was in one of those that she discovered another of Martinez’s story threads, a small item about a woman whose body was discovered in her apartment.

“It was heartbreaking; reality is always worse than fiction,” Padilla says. “She had been dead for two years and she had been wrapping Christmas presents. What stuck in my head was like, ‘Oh my god, I cannot believe that can happen in a big city.’

“One thing led to the other and I said, ‘What had to happen in order for my dad, or Martinez, to change, was to be confronted with mortality.’ And that’s when this woman came back to me.”

Casting an actor to play Martinez presented a challenge. Padilla originally looked at Mexican actors but they all misread the character. They felt sorry for him and his situation and that found its way into their interpretations of him, portraying him as a sweet old man, a far cry from the curmudgeon who existed in Padilla’s screenplay. It was a Chilean friend who suggested Reyes. A Fantastic Woman was not yet out in Mexico, but Padilla was able to watch the trailer for Sebastián Lelio’s film in which Reyes played the much older lover of a transsexual woman. From that tiny slice of his performance, she saw her Martinez.

Padilla sent Reyes her script and met him over a video call, later traveling to Chile to shoot a teaser to make sure he was, in fact, the right actor for the part. Reyes learned of A Fantastic Woman’s Golden Globes nomination for best foreign language film while she was there (it would go on to win the Oscar® in that same category) and feared that he might not want to work with a first-time filmmaker on her independent movie but he remained committed to the project.

The actor and director have something in common that gives both extra insight into the loner that Padilla created. Reyes lived in Paris for a time. Padilla has resided in five countries, and in 10 cities in the past 15 years, including Dallas where is she is a film professor at Southern Methodist University.

“I think being an immigrant, you always have this lonely place inside yourself,” Padilla says. “If you’re lucky, you can go back to your country once in a while, but you don’t belong there and you don’t belong to the new place, either.

“Francisco Reyes and I had a long conversation about that, that’s how we connected. He would say that even though you love a place and you have friends and you are lucky enough to have a house, there is always an emptiness inside you when you’re an immigrant. You’re like more a Mexican abroad or a Chilean abroad. In Mexico, I’m not Mexican enough and in the US, I’m not American enough. It’s like you’re never enough. It’s like you’re just in limbo, in that in between. For us, for Francisco Reyes and me, that was very important.”

Martinez’s Impact on Viewers

A project that began as a way for a daughter to better understand her father turns out to have wider implications. Long before Padilla had an opportunity to show Martinez to an audience, indeed, even before she began assembling her final cut in postproduction, she found that this character she wrote and gave to Reyes to so vividly inhabit was already striking an emotional chord.

“Everyone on the crew, but I mean, everyone, every single person was telling me, ‘My dad is like that,’” Padilla says. “He was like a common experience, because in Mexico, there’s a lot of machismo and it affects everyone. Men are not supposed to express their feelings. So we were all watching our own dads on the camera, and were understanding them and that this was part of our culture, this dynamic our society has.

“(Making the film) was such a cathartic experience; it was such a learning process…I think I understand my dad even better now. I don’t have that weight on my shoulders anymore. It was such an interesting experience that I was very lucky to have.”

Martinez: 7 PM, Fri., April 21, BAMPFA; 3 PM, Sun., April 23, CGV San Francisco. Click here for further information and tickets.

About the Author

Pam Grady is a freelance writer, whose work appears in the San Francisco Chronicle, 48 Hills, and other publications. She also has her own web site.

Stay In Touch With SFFILM

SFFILM is a nonprofit organization whose mission ensures independent voices in film are welcomed, heard, and given the resources to thrive. SFFILM works hard to bring the most exciting films and filmmakers to Bay Area movie lovers. To be the first to know what’s coming, sign up for our email alerts and watch your inbox.

When Joan Baez was 13 years old, she wrote an essay declaring who she was, prescient words from a precocious teen who would grow up to be a towering figure in American folk music and political activism. A phrase from it worked its way into the title Joan Baez: I Am a Noise, Karen O’Connor, Miri Navasky, and Maeve O’Boyle’s documentary that screens at the Festival on Tuesday, Apr. 18. Baez herself has thoughts on that essay.

“I was just thinking of the one thing we didn’t mention, which is the fantasy part, my ‘I’m going to start a peace movement and we’re going to save the world,’ Baez says during a recent video call with O’Connor and Navasky. “It was all very real to me, you know, I have to laugh. On the other hand, that’s the direction I went without ever looking back.

“But just to add, it is a funny combination of this shy, don’t-feel-good-about-myself, less than and, ‘Oh, by the way, I’m going to save the world.’”

What is Joan Baez I Am a Noise About?

Baez may not have saved the world in the end but not for lack of trying, as expressed through her music and her dedication to the civil rights and antiwar movement. But that is only one facet of I Am a Noise, a rich documentary that is as much about Baez’s complicated family story and her relationships with Bob Dylan and former husband, antiwar activist David Harris, as her career and politics. It is also as much about the present as the past as the filmmakers capture her during her 2018/19 “Fare Thee Well” tour. The 82-year-old artist is never less than frank and the filmmakers take a similar approach. This is not hagiography.

“I wanted to leave an honest legacy and you can’t do that if you pretty it all up,” Baez say. “So, it’s not pretty. I just held my nose and jumped in. I said, ‘Okay, here are the keys to the storage unit… What a Pandora’s box I let them open up and they just ran with it.”

O’Connor and Navasky are Emmy-winning filmmakers who frequently collaborate. The pair previously worked with O’Boyle (also the editor of I Am a Noise) when she co-produced and edited their 2015 PBS Frontline documentary, Growing Up Trans. The trio’s connection to Baez begins with O’Connor, who first met Baez in the mid-‘80s on a documentary project , the two women becoming friends. Filming for the documentary began several years before the Fare Thee Well tour but it was the idea of a final tour that kicked the project in high gear.

“There wasn’t a commitment to a last tour but the idea of a potential last tour gave Miri, Maeve, and I an opening to think about the value in documenting that with Joan. It would give us a window into somebody who had been famous for 60-plus years coming to the end of a kind of amazing career.

“There was no guarantee that would end, which made it even more interesting,” she adds. “The film itself could be a process of discovery. It was an opening and we knew it would be a narrative anchor. Over the course of time, the film shifted dramatically. As we all got in deeper and deeper and as Joan entrusted us, particularly with the family archive, the film really took a huge turn.”

O’Connor observes that Baez’s parents, Albert and Joan, kept everything. Albert, a physicist, made home movies of his family that included Baez’s older sister Pauline and younger sister, singer-songwriter Mimi Fariña. The family were also letter writers, Joan sending long written or recorded missives to her parents from the road. For the filmmakers, the trove was a gold mine.

“It cracked open the film in a lot of ways but particularly in terms of how to represent the past,” O’Connor says. “We had a chance to make the past come alive through the original source material that could make this a very different kind of biography. It would feel more like time travel than biography, so that we could see how Joan experienced things at the time rather than from the remove of 60 years later. There’s an immediacy and immersiveness that we wanted to capture in every strand of the film.”

How did the Filmmakers Find Balance?

One of the challenges of the film from the outset was how to balance the documentary’s many aspects of Baez’s family life, activism, and music career. But just in the way that she conducted her life, the filmmakers discovered some of the work was already done for them.

“The balancing of politics and music was almost natural to her from the time she was a teenager,” Navasky says. “In her letters, there is music and politics and family, they’re all interwoven. In some ways, following the course of her original primary material guided us.

“She’s had an incredibly packed life,” she adds. “We were constantly struggling with we could and couldn’t leave out.”

Baez has a son, Gabriel Harris, and a granddaughter, Jasmine, and she is an aunt to her sister Pauline’s children but she is the last of her birth family. The filmmakers were able to get footage of Baez’s mom before she died at 100 in 2013 and Pauline before she passed away at 77 in 2016. (Albert died in 2007 at 94, and Mimi in 2001 at 56.) But for the most part, it is Joan observing and speaking for her family.

“I hope I did them justice as well as I could,” Baez says. “I obviously couldn’t have made the film until they were all gone. For the Baez line, this is the end of the road. So, that, too, is part of leaving a legacy, of trying to leave an honest legacy. My family was nothing, if not honest, each in his own way.”

Joan Baez I Am a Noise is stuffed with music, from the beginning of Baez’s career when she was a teenager sensation all the way through the decades to that last tour of a venerated veteran performer. All that music will pour out of the Castro Theatre’s speakers during the film’s SFFILM Festival screening where O’Connor and Navasky and longtime Woodside resident Baez will be in attendance along with Baez’s friends and family.

“It’s different, seeing it on a big screen, because if you’re going to be overwhelmed, that’s the way to do it,” Baez says. “So each time I see it, there are different reactions and sometimes they’re very deep. They’re very sad. Sometimes I’m just delighted at the silly parts of it. I mean, does it bring up stuff? Absolutely. Absolutely, each time. Some of it I really don’t want to think about and I have to. With other parts of it, it’s okay.”

Joan Baez I Am a Noise: 5 PM. Tues., April 18, Castro Theatre. Click here for further information and tickets.

About the Author

Pam Grady is a freelance writer, whose work appears in the San Francisco Chronicle, 48 Hills, and other publications. She also has her own web site.

Stay In Touch With SFFILM

SFFILM is a nonprofit organization whose mission ensures independent voices in film are welcomed, heard, and given the resources to thrive. SFFILM works hard to bring the most exciting films and filmmakers to Bay Area movie lovers. To be the first to know what’s coming, sign up for our email alerts and watch your inbox.