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.
Gateway Guardians Premieres Sunday
Q&A with documentary’s director Rebecca OrmondBy Lisa Wogan, July 2010
► 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.
What did your students think of the group and making the documentary?
Everybody is moved by the footage. Liz Pekunka (a graduating senior, film logger and second assistant editor) kept saying if I weren’t a student, I’d absolutely foster a dog now.
From a technical perspective, this kind of shooting is quite novel right now because these little cameras are using a codec called H.264. It’s really amazing. We bought the pink cameras that went on sale on Mother’s Day for $99. They are just pinhole cameras; you can’t focus them or anything, which was important for the rescue workers because they’d just point and shoot. But these tiny cameras, the size of cell phones could hold six hours of high-definition 720p, 60 frames per second video. The quality is phenomenal. For my students this was one of the big things because filmmaking is so expensive … and here are these little cell phones generating a pretty amazing image.
Sounds like a great thing for such a lean organization. Would they have been able to make the film otherwise?
No. It was great because it was cheap and it was also great because it was so easy for them to do. The whole philosophy was if we go in there with a crew we’re not going to be able to get what happens. Only when PJ stands there by herself can she get this.
After all your experience volunteering and fostering with Gateway Pet Guardians, did you learn anything new in putting the film together?
Probably the thing that surprised me most is how much we were able to see in these packs of dogs the individual personalities of the dogs and how well PJ knew them. Even though I knew she had a really strong rapport with all the dogs it was shocking to see because she had the camera right on her hip. In the footage, the dog comes right up and bumps noses into the camera, and these are the stray, feral dogs that everyone’s afraid of.
I can’t imagine that people aren’t going to be all over this film.
As the director and someone who has been on it 16 hours a day for the past 6 weeks, I’m a little bleary. I don’t know. It might be great and it might be terrible. I can’t say.
I heard a dog in the background. Is that a Gateway rescue?
No. She is a rescue but I had her before I met PJ. I met PJ through her oddly enough. I had just bought my house and I was walking my dog. My dog was about a year old and she’s skittish with people she doesn’t know. So as PJ approached I started my whole spiel that I do with everybody, ‘She’s not aggressive, she won’t bite, but she’s probably going to hide behind me, she’s slow to warm up.’ PJ pulled one of her biscuits out of her pockets, and my dog took it out of her hand.
When you started as a Gateway volunteer, did you ever think to yourself, this would make a great film?
No, really I didn’t. The funny thing is, I’m not a documentary filmmaker. I’ve made a few and I’ve worked on a lot. But I’m principally a narrative filmmaker. It was one of those things where I’m the only filmmaker they knew.