|Gateway Guardians director Rebecca Ormond. The film premieres on Sunday, July 18 in St. Louis.|
On July 18, Gateway Guardians, a documentary about a handful of scrappy volunteers feeding and rescuing stray dogs in a blighted East St. Louis neighborhood, premieres. Filmed almost entirely by flipcam-wielding rescue and foster volunteers and Webster University film students, the documentary provides a moving, dog’s-eye-view of street packs and loners and their unorthodox saviors. We spoke with the film’s director, professor and independent filmmaker, Rebecca Ormond during the final days of editing to learn how this story reached the screen.
► See details about the premiere and future screenings below.
► Look for our story about Gateway Pet Guardians in the September issue of Bark.
► Watch video trailer on page 2.
TheBark.com: How did you sign on for the documentary?
Rebecca Ormond: I am a film professor at Webster University and also an independent filmmaker. [The film’s producers Amie Simmons, Gateway Pet Guardians’ president, and Jamie Case, executive director] approached me not to make the film but to recommend cameras. In talking with them it was pretty clear that they really didn’t know what was involved so I thought it would be a really neat combination, since I’d volunteered [for about five years] with them anyway, to volunteer my services.
My role was basically to handle all the technical stuff and just figure out how to use cinematic language to say what they wanted to say. [Another Webster University professor, Steve Schenkel, composed the score.]
How did you make the documentary?
We had a very loose plan. We bought these little high-definition flipcams. PJ Hightower [GPG’s founder and lead rescuer, who has been feeding the strays since 1995 and hasn’t missed a day since 2001] wore one and whoever rode with her carried one, and I gave them some basic instruction in how to film and not get in the way.
The whole idea was to get a lot of footage with the animals the way they really act with PJ. The way we wouldn’t be able to get with a film crew. The basic idea was to see these animals the way she sees them, which is very personal. She has names for all of them. It’s like she has 200 pets. So the goal was to be as unobtrusive as possible. As fosters came forward, we would then hand a camera to the foster, and follow that dog through the foster system into their forever home.
For almost a year, they would run these cameras. They’d turn in over six hours of footage to me a week. We just kept trimming it down, trimming it down, trimming it down. Very early on we followed Ghandi’s quote that you can tell a society by how it treats its animals as a really rough working guide.
Beyond the foster folks and the volunteers is there anyone else in the film?
In the longer film, there are people from East St. Louis—both who live there and who work there. My favorite person of all is a wonderful woman, Ethel May Taylor. She tells the story of her dog Tyler, who she was feeding as a stray, and PJ rescued and had neutered and then returned to Ethel. She talks about the joy that Tyler brings to her life.
How were your students involved?
We never sent them out on the streets of East St. Louis. We brought people from East St. Louis and the organization to my house to film. They filmed the interviews. They also logged footage. It was an enormous amount of logging, 10 solid months of six hours a pop with six different cameras running constantly. I would tell them… we want, at most, to log 10 percent of what comes in, so it’s your job to search through all six hours and decide what hour or even maybe what 10 minutes gets put in the log that I’ll eventually start editing.