The cutest onscreen text of the festival:
“Now carrying twins, Boosie careth not about the film”
was soon followed by the most startling:
“Korbyn was buried in the early afternoon”
Individual and community portraits in the area where “Alabama at Night” was set. Instead of telling us a straight story, he selects little character or photographic moments. I tried to compare the editing to Cameraperson or 88:88, then realized we scheduled this in the first place because I saw it being compared to Malick – so, some combination of those. Andrew Crump: “But RaMell Ross has an element on his side that these artists lack — a level of honesty attained only through intimacy. Ross knows his subjects as more than subjects. He knows them as you know your friends, your family, your neighbors.” Ross puts his skills as both photographer and basketball coach to great use, creating a mosaic of moments, many of which I’ve now forgotten, but this seems like one of the True/False films that will survive, so we’ll have a chance to see it again. We stayed for the Q&A, where Ross spoke of a desire to “participate” in a community rather than “consume” it, and said the film wasn’t created to make money, so it has no obligation to act like commercial cinema, a nice distinction.
Tayler Montague in Reverse Shot:
Emancipating the image feels like a goal in Hale County, which loosely follows the lives of Daniel Collins and Quincy Bryant, ballplayers who are simply living and striving and working. … Daniel and Quincy are young men with aspirations beyond Hale County’s city limits. Whether through rapping or hooping, they want to transcend the expectations of life there.
I think it was in 2012. I was like, “I need to film these guys. I need to film this community. I need to start making moving images.” The first images I made were of Quincy hanging out with his friends. I knew both Quincy and Daniel for three years before I started, and I asked, “Yo, Quincy, can I start filming? I have no idea what’s going to happen. I just want to be here with the camera.” And he said, “Obviously.” And then the same thing for Daniel.
When I first started, I didn’t know what I was looking for, and things would happen, and they would really move me, and they would stick with me, and then I’d think, “Oh, this is what I want.” … I made a cut of all of my favorite images; I related them based on color, and sunup and sundown, and it was pretty moving. I considered it like a trailer in some sense. And then through the process of looking at films and talking with people, I realized that a film could be something like this. “Whoa, what if I made a trailer of their lives? What does that look like in the long form?”