Category: Blog Post

  • Everybody's Got Something to Say

    ART & ACTIVISM
    Solutions Volume 2 Showcases Innovative Design, Art, Activism

    0710solutions.jpgBack in May, I recommended the first Solutions showcase as a great way to channel your creative energy and transform gripes into proposals. Now, it’s time for Solutions Volume 2, where leading edge designers, architects, artists, and activists — “solutionists” all — will present their work, 6-minutes and 40-seconds at a time. What will they cover is so short a time, with 20 rapid-fire slides apiece? — “do it yourself bio-diesel vehicles, urban camouflage street art, sustainable architecture and humanitarian design, Minnesotans rebuilding the Gulf Coast, transformative homeless theater, artistic street culture for urban youth, and sustainable sexuality.” Whew! Problems we’ve been facing for many lifetimes solved in under seven minutes. Gotta love it!

    Friday at 7 p.m., Studio 1414, 1414 Marshall St. N.E., Minneapolis; 612-638-1888; $8.

    DANCE
    Ugly

    0710arenadance.jpgContemporary dance seems an unlikely vehicle for exploring our culture’s obsession with physical perfection, what with all the buff beauties prancing about. But that didn’t stop local choreographer Matthew Janczewski from assembling an impressive cast of collaborators to help realize his heartfelt, movement-based rebuke of superficiality — in fact, it’s his most ambitious project to date. The evening is set to the dissonant sounds of pioneering electronic music composer Morton Subotnick. Direction is by Peter Rothstein, founder of Theatre Latte Da and director of the Guthrie’s recent production of Noël Coward’s Private Lives. The result is a dance in three acts. The first is a baroque, very formal piece about keeping up appearances. The second, a dystopian vision called “Disco Technology,” deals in the false identities created for romantic pursuits (playwright Kira Obolensky lends a bogus online dating profile). And in the deconstructionist third act, the façade comes tumbling down. –Christy DeSmith

    Friday and Saturday at 8 p.m., Walker Art Center, 1750 Hennepin, Minneapolis; 612-375-7600; $25 (members $21).

    FILM
    My Kid Could Paint That

    0710mykid.jpgIn 2004, director Amir Bar-Lev first approached the parents of young
    Marla Olmstead with the idea of making a documentary of her extraordinary talent. Over the course of a year, this four-year-old girl from Binghamton, New York, sold nearly $300,000 worth of abstract paintings, was covered by news outlets from around the world, and then, on 60 Minutes, had her reputation sullied by accusations that her father was the real artist, or at least an over-imposing coach. Bar-Lev’s masterful My Kid Can Paint That leaves viewers questioning what they see, and pondering the nature of modern art, parenting, and the role and responsibility of the media. –Peter Schilling Jr.

    Lagoon Cinema, 1320 Lagoon Ave., Minneapolis; 612-825-6006.

    I, of course, will be heading out to see the long-awaited Wes Anderson flick, The Darjeeling Limited, at the Uptown Theatre — Owen Wilson, Adrien Brody, and Jason Schwartzman bonding in the desert. Yay!

    Get a Sneak Peak of Pu-239

    0710pu239.jpgLet’s put it this way: when George Clooney and Steven Soderbergh decide to back a project, you know it must be worthy. As executive producers of Pu-239 (along with Peter Berg), the two put some serious faith into Scott. Z. Burns’s writing and direction. Why? Well, Burns has a few notches on his own belt. He wrote The Bourne Ultimatum screenplay and produced An Inconvenient Truth. Now, you can enjoy his dark thriller. Set in 1995 post-Soviet Russia, Pu-239 follows actor Paddy Considine on a wild ride to provide for his family when he finds out he’s dying from radiation exposure. Sure, you can always wait for the official HBO Films premiere on Saturday, November 17th (8 p.m.), but then you won’t get to meet Burns in person after the show.

    Friday at 7 p.m., The Historic Heights Theatre, 3951 Central Ave. N.E., Columbia Heights; free with reservations, call 651-644-1912.

    Of course, you can also meet him the following morning, see some film clips, and hear him talk about his latest endeavor.

    Saturday at 10 a.m., Minneapolis Community & Technical College, Rm. L3000, Whitney Hall, 1501 Hennepin Ave., Minneapolis; 651-644-1912; $15 (members, students, and seniors $10).

    BIKES AND BEERS
    Homie Fall Fest

    0710bikes.jpgIf you’re one of those people who can actually booze it up on a bike, then you absolutely must get out those wheels this weekend. From the looks of it, it might even stop raining for a day: mostly sunny on Saturday with a high of 68. Perfect. Are you an early riser? Be at the CRC Coffee Bar at 9 a.m. to ride to Hell’s Kitchen for breakfast. If you’re not exactly a morning person, fuel up at home and join the crowd at Liquor Lyle’s for a noon departure. You don’t have to be a hardcore cyclist, and it won’t hurt to be a hardcore beer enthusiast. Here are some photos from last year.

    Saturday at 11 a.m., Liquor Lyle’s, 2021 Hennepin Ave., Minneapolis; 612-870-8183.

    SPORTS
    Yes, It’s a Sport — It’s the Minnesota Roller Girls

    0710rollergirls.jpgThe time has come. Yes, sir. Saturday is the Minnesota Roller Girls home season opener, which means big time fun and festivities. Oh, yeah, and hot girls on skates! Watch the Dagger Dolls play against Nebraska’s No Coast Derby Girls, and the Garda Belts play the Cincinnati Rollergirls. The first 200 people to show up will get a free Roller Girls t-shirt. Or if you prefer, don your Halloween costume for a chance to win a special prize. There’s a pre-game happy hour at Station 4, with a free shuttle to the game. And the Roller Girls invite you to “get your party on” with them after the game at their O’Gara’s after party.

    Saturday at 7:30 p.m. (doors at 6:30), Roy Wilkins Auditorium, 175 W. Kellogg Blvd., St. Paul; 651-265-4800; $8-12.

    HOLIDAY EVENT
    Ha Ha Ha Ha Halloween – Eeeeeeeiii!

    0710hauntedhouse.jpgAs much as I like the “idea” of haunted houses, as much as I respect real haunted houses, let’s face it, the typical Halloween haunted house is cheesy as all get-out. I know it’s all about exploiting our fears and all, but can’t we do it in style? Apparently so. And where better to do it than in the Soap Factory’s soon-to-be-legendary creepy 100-year-old warehouse basement. This is no typical haunted house experience — unless you’ve experienced the real deal. This haunted house is artist-designed. With hand-held lanterns for light, and a mere three friends at your side, you can grope your way through the haunted basement, buried bodies, and other frightful designs of artist Chris Pennington.

    Saturday from 7:30 to 10:30 p.m., Soap Factory, 518 2nd St. S.E., Minneapolis; $10.

  • PiPress Deal Beats a Poke in the Eye with a Sharp Stick — Barely

    The tentative deal between the Pioneer Press’s newspaper guild and Dean Singleton’s MediaNews doesn’t look so hot at first glance — the guild agreed to a pension freeze, a one-time vacation concession and significant changes to its medical and disability plans in return for a paltry two to three percent raise. [The entire agreement is detailed in the previous post].

    Still, unit chairman and bargaining committee member Alex Friedrich said Thursday, “We’re feeling relief that it wasn’t worse.”

    Expectations were extremely low when Singleton’s people started throwing out all kinds of shitty ideas during negotiations. Among them: Imposing a two-tier wage scale, reducing mileage reimbursement from 45 to 35 cents, and taking team leaders out of guild coverage.

    “There were more than a dozen things like that,” Friedrich said. “So these [concessions], although really big hits, were not as bad as the entire package could have been. I’m not about to say it’s a great deal. But considering what could have happened during a long-drawn out negotiating period, it’s the best thing we could have gotten under the circumstances.”

    Friedrich was proud that the Guild didn’t accept management’s health care proposal: “We came up with a compromise medical insurance plan that had not been proposed.”

    The Guild also got management to agree to look “into a wide range of issues and complaints that have been bubbling in the advertising section.”

    [A lot of those problems arose following then-publisher Par Ridder’s detrimental reorganization of the department shortly before he bailed out of St. Paul to move across the river and inflict more “right-sizing” at the Star Tribune.]

    The full Guild will discuss and vote on the new contract late next week and Friedrich acknowledged that “there are going to be a number of people who are really upset with these large concessions–I’ll admit that some of our veterans are going to be peeved.”

    Of course, there aren’t as many veterans to be peeved as before, since so many of them have already exited on one of the paper’s many buyout offers.

    So why did Singleton pull back from what many expected to be a complete pulverization of the PiPress guild (much like what Avista has planned for the coming Strib’s guild contract negotiations)?

    Friedrich was circumspect. “I can only offer my opinion, but anyone who’s been paying attention to [Singleton’s] own filing reports on Standard and Poor’s could question his situation regarding the amount of debt that MediaNews has taken on.”

    I still smell a Joint Operating Agreement brewing in the two papers’ futures.

  • Social Graph-iti

    The Economist has an interesting article this week on Social Networking.

  • PiPress, Guild Reach Agreement

    This just in: Dean Singleton’s PiPress and the newspaper guild have a tentative deal. Here’s the memo:

    October 18, 2007

    Guild, Pioneer Press reach tentative agreement on 4-year contract

    After three days of intensive, off-the-record talks, the Guild and the Saint Paul Pioneer Press reached agreement late Wednesday on a four-year contract covering 340 employees.

    The tentative agreement, which runs through July 31, 2011, would increase wages for all employees by 2 percent on July 1, 2008; 2 percent on July 1, 2009; and 3 percent on 2010. The MediaNews matching 401(k) plan would be offered to eligible employees upon ratification.

    The agreement includes a pension freeze, a one-time vacation concession, and significant changes to medical insurance and disability pay. It leaves intact nearly all of the language in the contract, including seniority on layoffs, the right to daily overtime and mileage reimbursement. It avoids the two-tier wage scheme the company had sought, and newsroom team leaders would remain covered by the Guild.

    If ratified, the agreement would bar layoffs through December 31, 2008.

    Three key issues that Guild members identified as critical to the future of the Pioneer Press were addressed in the talks: 1) the company agreed to partner with the Guild to apply for a grant of up to $400,000 from the state of Minnesota to design a training program focused on multimedia skills and the paper’s digital future; 2) the company agreed to a joint committee to investigate and make recommendations to resolve issues and concerns affecting productivity in advertising; and 3) the company agreed to include content employees at TwinCities.com in the Guild.

    A membership vote on the tentative agreement will be scheduled for the middle part of next week. More details about the agreement will be provided beginning Friday, Oct. 19. A unit meeting will be scheduled on Wednesday, Oct. 24 to present the agreement and answer questions.

    Unless otherwise noted in the following summary, all existing contract language would remain unchanged.

    Duration of contract: Four years, expiring July 31, 2011. Wages: Across-the-board raises of 2 percent on July 1, 2008, 2 percent on July 1, 2009, and 3 percent on July 1, 2010. Medical insurance: This proved to be the most difficult issue to resolve, because of significant changes planned by MediaNews in 2008 — changes just recently made known to the Guild bargaining committee. In a nutshell, the changes include a new, less expensive base plan upon which our rates for the HealthPartners plan, which most of our members use, is based. The effect was to create large increases in premiums for members on the HealthPartners plan. The company would have imposed those changes on January 1, under the terms of our expired contract, regardless of whether a settlement was reached. The Guild committee worked to mitigate the impact of the change by seeking new quotes from HealthPartners for the existing plan, and for a new, second HealthPartners plan that would be more affordable but would have higher co-pays. As a result, HealthPartners premiums will rise, but not as much as they would have otherwise. The Guild also secured a cap on costs for the hardest-hit group: two adults with no children.

    (More specifics on the changes: The former Knight Ridder Blue and Green plans offered by United HealthCare would be replaced effective January 1, 2008 with two new national, self-insured plans offered by MediaNews. The two plans, administered by Blue Cross, include a “core” option and a “buy-up” option with a higher premium. Under both options, employees choosing single coverage would pay 22 percent of the premiums; the three other coverage options — employee plus spouse, employee plus children, and family — would be offered at 30 percent of the premium. The current HealthPartners plan would continue to be offered, alongside a new HealthPartners option with benefits similar to the old Knight Ridder Blue plan. The Blue Cross “buy-up” plan would serve as the base plan for calculating premium contributions for the HealthPartners plans. Several factors will cause the employee share of the HealthPartners premiums to increase substantially. )

    Retiree medical: The current retiree medical options would continue to be offered to employees who are 55 or who turn 55 and who choose to retire before July 31, 2011. Coverage would not be available to employees retiring after that date. The change does not affect retirees now receiving medical coverage.

    Pension: The Guild pension plan would be frozen, but, for the life of this contract, employees would continue to receive service credit. That means veteran employees can accrue service under this contract to qualify for early retirement, and less senior employees can continue to accrue service to vest in the plan. The freeze does not affect any benefits accrued by employees to date, and has no effect on retirees now receiving benefits. The company must continue to make payments to bring the plan to fully funded status.

    401(k): Guild-represented employees would become eligible upon ratification for the MediaNews 401(k) program under the same terms as management employees. The plan includes a 50 percent match up to 6 percent of an employee’s contributions (3 percent maximum employer match). Previous service with the company counts toward vesting.

    TwinCities.com: Content employees at TwinCities.com would become part of the Guild bargaining unit. Freelance: The Guild agreed to language permitting the company to use freelance material for prep and small college sports, as well as for police blotter items and daily suburban briefs similar to those written by news clerks. Training: The company would work with the Guild to identify and partner with a local college to apply for a state Job Skills Training Program grant of up to $400,000. The money would be used to create and provide a training program specific to the needs of Pioneer Press employees as the paper continues to expand its presence on the web. Among other things, the grant would help newsroom employees obtain and enhance multimedia skills.

    Advertising: The company agreed to a joint Guild-management committee to investigate workplace issues and concerns in the department and to present recommendations designed to improve communication, productivity, and revenue growth. The Guild agreed to eliminate minimum commission rates that had been replaced with a different commission structure in the department (so-called “commission-grid plans”), and also agreed to allow business development accounts of roughly $40,000 or less and inactive accounts to be transferred from salaried to commission sales representatives. The company agreed, in turn, to index base wages for commission-grid plans to the raises negotiated for other employees; to elevate sales representatives on the commission-grid plans from Tier 1 to Tier 2 base pay not later than 15 months from their date of hire; to guarantee for two months the payment of a minimum of 100 percent to goal for new hires and for commission sales representatives transferred to new territories; to use average daily earnings as the basis for computing paid time off; and to resolve a grievance filed over average daily earnings by making all affected employees whole for their losses.

    Vacation: The Guild agreed to move to a new accrual system. The effect of the change is this: the company eventually gets to wipe more than $1 million in accrued vacation off its books, resulting in a one-time savings. Members who continue working do not lose any vacation time. The number of weeks granted per years of service is unchanged. But when a member leaves the PP, chances are he or she will not receive the payout for previously “accrued” time as in the past. Here’s how the change would be implemented: Effective January 1, 2009, employees will earn and use vacation in the same year; currently, employees earn vacation in one year and use it in the next. (Employees will be able, in the new accrual system, to take vacation before it’s earned.) Effective January 1, 2008, when the transition to the new system would begin, employees would be eligible to use the full amount of vacation earned in 2007, but would not accrue new vacation until January 1, 2009. The change, again, would have no affect on the amount of vacation to which employees are entitled; an employee who earns four weeks of vacation each year still would be eligible to take those four weeks in 2008, 2009 and beyond. The change would affect employees eligible for a payout of accrued vacation upon resignation of employment.

    Severance: The Guild agreed to add “gross misconduct” as a basis for denying severance to terminated employees. The severance cap of 38 weeks remains unchanged.

    Job security: The company agreed to no layoffs for 14 months, through December 31, 2008. Sick leave, short- and long-term disability: The current sick leave pool of 10 days annually, with a maximum bank of 20 days, would remain unchanged. The Guild agreed to replace existing short- and long-term disability policies with those offered to management. Those policies pay 70 percent for a qualifying short-term disability and 60 percent for a qualifying long-term disability. The company must supplement short-term disability for Guild-covered employees so that they receive 100 percent of pay for up to 120 days; thereafter, employees would receive 70 percent of pay for 60 days, and 60 percent thereafter.

    The Guild bargaining committee included Julie Forster, unit chair Alex Friedrich, Meggen Lindsay and Jim Ragsdale of the newsroom; former unit chair Jack Sullivan of the newsroom (through August); Dave Noble of advertising; Lance Forys and Duane Maxson of circulation; and Marilyn Clements and Darren Carroll of the Guild office.

    The committee has been supported throughout the process by three dozen Guild leaders and activists including Mara Gottfried, Cheryl Burch-Schoff, Tim Nelson, Dave Orrick, Fred Melo, Kelly Blaiser and more than 30 Guild contacts. All took part in an unprecedented level of preparation for bargaining.

  • The Many Faces of Bob

    Check out the new trailer for the kaleidoscopic Bob Dylan biopic, I’m Not There. The film stars Cate Blanchett, Christian Bale, Marcus Carl Franklin, Heath Ledger, Richard Gere, and Ben Whishaw as Bob in the various stages of his career.

  • The FCC and More Media Consolidation: The Monster that Will Not Die

    We’ve all seen movies with monsters — aliens, masked serial-killers, cyborgs from the far future — that just will not die, no matter what you do to them. Incinerate ’em and a loose gram of their psychotic essence reconstitutes itself and the battle is on again.

    So it with the FCC announcing that it is going to try to fast-track a ruling allowing giant media corporations (the only ones who can afford to play this game) to, among other things, own both a newspaper and television station in the same city. Here in Minneapolis-St.Paul the one immediately conceivable combo-platter like that would be Gannett Inc., which already owns KARE-TV, buying one of the two daily papers … and tell me Avista Capital Partners, the Strib’s hapless owners, wouldn’t be open to an offer?

    This idea was roundly slapped down a couple years ago when the previous head of the FCC, Michael Powell, (Colin’s kid), tried it. As The New York Times reports this morning the outpouring of negative comment, not to mention the aggregation of some very strange bedfellows, (NOW and the NRA!), was unprecedented. The public — the wisdom of crowds — understands very well that LESS consolidation is the direction media in this country needs to go, not more.

    This is — big shocker here — yet another intensely partisan crusade. The FCC is currently a 3-2 Republican-Democrat split, and will remain that way through the remainder of the Bush administration. (If 3 to 2 sounds eerily like the 5 to 4 vote that put Mr. Bush in office, well, it’s a weird world, isn’t it?) Currently, as the Times reports, the Commission’s two Democrats are, A: Surprised this is back on the table, and B: Digging their feet in to fight again.

    Commissioner Michael Copps sounds more adamant than his colleague Jonathan Adelstein, who is quoted expressing concern that such a ruling should require more diversity in the system by somehow guaranteeing access to women and minority buyers of media companies.

    Please. Women and minorities are no more impervious to the siren song of fat buy-out paydays than your average Clear Channel/Gannett/Media Corp. white guy. If the system required women and minorities to maintain ownership and exclusive programming control for 10 or 20 years, maybe the “diversity” argument would be more appealing. But as it is/has been the first time one of the giants wanders in with a 20-times earnings buy-out offer, “diversity” is a fleeting memory.

    I could go on for hours about the deleterious effects of media consolidation, but try this for a quick and easy “explainer.”

    Consolidation=debt=budget cutting=less truly local coverage=more and more “economies of scale” (syndication, low-brow news and entertainment.)

    I’m open to anyone who can make the argument that the Clear Channel model of consolidation — the biggest and the arguably the most self-serving — has created more thorough and accurate local (or national)news coverage, more listener access to a wider range of musical talent, and less of the profoundly and demonstrably inaccurate and false, not to mention poisonous demagoguery of consolidated, syndicated “talk”? Now imagine if that kind of micro-managed, cutthroat, C- student quality thinking were granted the right to “program” your local newspaper as well? (Ok, no worse than Dean Singleton and Avista, you say? Damn, you might have me there.)

    I strongly suspect the current FCC head, Kevin Martin, is getting orders to ram this through before the limos of all good Bushies are egged on their way out of DC in ’09. And it seems reasonable to speculate how much campaign dough is lined up for deposit in Republican National Committee bank accounts — hello, Rupert! — to get this in to law before some “socialist” Democrat comes in with the lunatic idea that tamping down on consolidation might depress speculative media acquisitions and create more access by less gargantuan owners, some maybe even local, some maybe even female and/or minority.

  • This Year's Hottest Gifts: Goats, Guinea Pigs, and Water Buffalo

    0710newimagebb.jpg

    At first, I thought it was a joke. Heifer International just sent me a holiday catalog offering me the opportunity to buy a water buffalo for $250 and ship it to Cambodia. I could also buy a share of a buffalo, for just $25. And this is serious.

    Heifer International is a private nonprofit agency that sends animals — chickens, pigs, rabbits, even llamas — to impoverished communities around the world. Their mission is to promote sustainable food production and end hunger, and they do this by donating both “edible” creatures (including guinea pigs — a major source of protein in Ecuador) and working animals, such as donkeys, camels and bees.

    I don’t know what the ecological cost is to mail a goat to Haiti, or an ox to Uganda, and this was the one question I couldn’t answer by visiting the Heifer site. But everything else this organization is doing seems spot-on.

    Heifer International:

    Provides farm materials and training in sustainable agriculture methods.
    Helps disaster victims rebuild their towns and agrarian communities.
    Encourages recipients to “pass on” the offspring their animals produce.

    Plus, they have a bunch of shiny, sexy people involved: Susan Sarandon, Ted Danson, and the mother from a television show called Malcolm in the Middle, whose name I didn’t recognize. The organization also has testimonials from Bill Clinton and Jane Goodall, which was far more convincing to me. Enough so I’m now signed up to sponsor a part of a Russian cow.

    “If an economically poor country is to conserve its wildlife heritage, this means additional hardships for the peasants, in many cases,” said Dr. Goodall. “Thus it is necessary to build conservation into a package — money for rural development programs, agroforestry, medical help, controlled tourism, etc. Heifer International fits absolutely right in with this overall plan.”

    But I’m afraid Heifer is going to have to reach for some new spokespeople if they want to entice the next generation. My 13-year-old daughter (the one who explained to me about Malcolm) paged through the catalog and said, “Wow, this is cool. If they got that guy from Las Vegas, I would TOTALLY buy a whole buffalo.”

    If you’d like more information about Heifer International, visit their website or call 1-800-422-0755.

  • Could Your Kid Paint That? An Interview with Director Amir Bar-Lev

    Marla.gif

    Here’s a great night out: dinner, drinks perhaps, and then Amir Bar-Lev’s fascinating documentary My Kid Could Paint That (opening tomorrow at the Lagoon Cinema.) The story of four-year-old Marla Olmstead, the little girl who made abstract paintings that sold for nearly a half million dollars, My Kid will have you and your cohorts debating for hours afterward. Going into the film you might have opinions about whether or not this child’s parents are charlatans or saints, about the validity of modern art, about what we seek as patrons of said art. I guarantee that when you emerge you’ll be rethinking everything.

    Before watching the movie, my wife and I were pretty much at odds about Marla–I was convinced she didn’t create these paintings, my wife thought there was a good chance she was a prodigy. When it was over, our opinions were pretty much reversed.

    I had the great pleasure to interview My Kid Could Paint That director Amir Bar-Lev and ask him about the reaction to his film, what brought him to make it, and whether we’ll ever get to the bottom of this mystery.

    Rake: You’ve been to a number of showings that have involved post-screening Q & A’s. What’s been the general reaction?

    Bar-Lev: I’m happy to say that in straw polls we’ve taken after the shows we’ve found that 20% still think the parents are completely innocent. This gets at what I was trying to do with this film. I wanted to occupy a middle ground. The TV outlets encouraged both extremes: Marla’s either Mozart or a con.

    Rake: What brought you to this story?

    Bar-Lev: I read the article in The New York Times, which spoke to my own cynicism about modern art. You can assess a piano prodigy, for instance–they either play well or they don’t. But with modern art, there are questions of intentionality, and this four-year-old’s paintings challenged that. These questions are also important when judging the paintings she made on camera and off-camera. Who are we to say that one painting is more polished than another? Are there any standards?

    When I first met the Olmsteads I realized that this movie was going to be a family drama. At first, I really had no skepticism about the girl. The film happened in stages, and at first I didn’t actually see any of the things that later on made me question their story. That’s what this movie turned into–it’s story about stories, how we project what we want to onto Marla’s tale.

    When the “60 minutes” piece aired [that suggested the father coached and/or actually did the painting] I knew my documentary just got more interesting. I felt I desperately needed to get more footage to ease my nagging doubts.

    As time went on, making this film became very difficult. I didn’t sleep well for six months. There’s an interview in there that sums it up, when the mother’s telling me that she needs me to trust them, and I have to tell them I’m not sure. Going over that footage, it’s awful–when you hear your voice in an uncomfortable situation… well, I was barely capable of talking. I was sitting on documentary gold but it still didn’t feel right, having spent so much time with the family. You’re basically accusing them of lying, which is highly unpleasant especially when they trust you. But I had to hold to my own standards and get at the truth.

    Rake: It’s interesting, because there’s that scene in the car where you’re expressing your concerns out loud. You put your own doubts in the movie itself, and made yourself part of the story.

    Bar-Lev: I didn’t intend for that scene to happen. One of my interns was recording it, and fortunately they didn’t stop the tape. My role was minimal, but it was difficult to edit and it took a long time. It was emotional, complicated.

    As I said, I discovered was that this film is about adults, about people projecting what they want onto Marla and her art. It’s like Chauncey Gardner in Being There. Her childlike simplicity brings out things in people.

    The film is also about how people control information. The parents so desperately wanted their name cleared. That’s what they wanted from me. As I said, My Kid Could Paint That is a story about stories, and less about greed. The parents want that control. But it’s a Faustian bargain. By deciding to remain in the light, they actually lose more control.

    Rake: You really wanted to get footage of Marla painting, but watching the film one gets the sense that you were never satisfied. At least I wasn’t.

    Bar-Lev: I did pick the best footage of Marla painting but it never truly answered the questions. Marla would never talk about her art. It was a puzzle–at first I thought she was being bashful. But when I look at the footage of “Ocean” [the first painting captured entirely on film, though not by Bar-Lev] it’s more bewildering. You do see her employ a variety of techniques, but is it as good as the others? Can we see the same squiggle over and over again, suggesting genius? And again, is it fair to make those comparisons?

    Rake: It’s fascinating to me how one can come into this movie thinking one thing, very strongly in fact, and emerge questioning those beliefs. I was convinced the father was a con, and while I still question his veracity, the closer you get to the supposed con, it doesn’t quite add up.

    Bar-Lev: I saw this as an existentialist story. There’s no ten commandments. While there’s certainly right or wrong, it’s not in terms of art. When you stop and think about the facts of this case, no scenario makes sense. You can tell yourself that there’s no way Marla’s doing the paintings, that the father painted them or really coached her. But then the mother clearly believed her daughter painted these, so how did the father hide his own involvement from her? How did he hide it from everyone? Sometimes I think the only way to explain it is that they really have nothing to hide.

    It’s like that Escher painting, with all the steps that go up and down and all lead into one another. There’s no end, no easy way out.

    Rake: What does the family think of My Kid Could Paint That?

    Bar-Lev: Marla’s mother actually said “It’s a great film, I just wish it wasn’t about us.” I’ve encouraged them to lend a dissenting voice, and even offered them an opportunity to do the DVD commentary. But they’re distancing themselves from it. They don’t want to publicize the film in any way.

    Rake: I did appreciate that you avoided pigeonholing certain people, like Anthony Brunelli, the art dealer, and Stuart Simpson, one of Marla’s earliest patrons. If you were to make this a more good vs. evil story, Brunelli could come off as a cad, and Simpson as perhaps a fool. But they’re good people who both who truly believe in Marla.

    Bar-Lev: Anthony’s a true believer. He’s a salesman in the best sense of the word. Because he’s one of those salesmen who truly believe in their product, and that it has meaning. The paintings get sold for as much as humanly possible because of his belief, and not because he’s trying to scam anyone. He’s earnest.

    Stuart Simpson follows this story closely, and will chime in on blogs and chatrooms defending Marla. He credits her with helping him follow his lifelong dream of becoming an art dealer.

    They’re all very civil when defending Marla.

    Rake: Do you think we’ll ever know the true story?

    Bar-Lev: I think we’ll know in ten years or so. Something will happen. When Marla gets older, she’ll tell us.