So this was an example, and from my young eyes, it was like, “Wow. And until they got this stuff back from the lab and screened the dailies, they didn’t realize they had the murder. And I saw also one of my mantras that’s become a mantra, I call it follow the footage, meaning I saw… here was Maysles were hired to do a brief promo film for the Stones.Īnd then they realized they had the footage of the murder, which they didn’t know they had about 10 or 12 crews at Altima at that day. And I always told him that, that film, all the themes of the ’60s in sex, drugs, rock and roll in politics and violence and race, and all of these came to play in that film. And I say that had such an effect because all the themes I became good friends with Albert Maysles in the ensuing years. I walked in and I swear, somebody literally handed me five cans of 16 millimeter film and sound and said, “Take these to Duart, around the block,” and I did.Īnd for the next few days, I was just literally running errands like an intern or an apprentice would until one afternoon, David Maysles came up to me and he said, “Who the hell are you?” And I introduced myself and I ended up becoming an apprentice on Gimme Shelter. So I heard about that and I went over to the Maysles headquarters to see if maybe I could get a job. I had heard at that point in the beginning of 1970, the winter of 1970, the Maysles were starting their work on Gimme Shelter right above the Ed Sullivan Theater, where Stephen Colbert does his show now. So that story I’ll just share with you, because it sounds apocryphal, but it was true and it ended up having a profound influence on my life and career.
Their film on the Rolling Stones tour in 1969 that ended with a tragic concert at Altamont, where a young African-American was stabbed to death by a Hell’s Angel. And the documentary world that really shaped my career was that I dropped out of Wesleyan and got a job in New York city with the Maysles on Gimme Shelter. Strangelove, or 2001, or A Clockwork Orange, or the European films, the Neo realist films. The movies that shaped our lives, whether it was Dr. And then I think movie-making at that time was where the action was, where when I was a teenager, that’s what we talked about. And so, I think they had a profound effect. My father, a journalist and then a filmmaker and my mom, a social psychologist.
#Daphne after shoots plus
So that plus my father, Al Levin, and my mother, Hannah Levin, they were labor organizers, they were civil rights activists and eventually became professionals. I would say just the abbreviated form for me is that I came of age in the ’60s. And in going into that, perhaps you could give us a bit of your trajectory into the filmmaking business. What I want to do first is offer you both an opportunity to tell us about the people, ideas, and events that shaped you from a young age, both as citizens and as storytellers. Part two will focus on their latest work, the HBO documentary Stockton on my Mind and how it is in some ways a culmination of much of their earlier work. Part one of this interview covers Marc’s and Daphne’s journeys into the world of storytelling, as well as their film work in the 90s and early 2000s.
At the time, Marc and Daphne were working with Marc’s dad, Al Levin, who was a thoughtful, kind and passionate man, and a real mentor to all of us until his passing in 2006. I have known Marc and Daphne since 1992 when they were making films in HBO’s documentary department, where I worked for the legendary television executive, Sheila Nevins. On today’s podcast, we present part one of a two-part interview with filmmakers Marc Levin and Daphne Pinkerson, who - over the last three decades - have made some of the most in depth and insightful documentaries about the overlapping American crises of crime, incarceration, societal disruption and the struggles of governments to cope with these seemingly intractable issues.
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