I do it every day.
Taking on a large project such as a documentary is a daunting, intimidating task. Especially if that documentary's purpose is to do an extraordinarily talented and complex woman justice. Even more especially when her brother knows you're working on it. Despite my lack of funds and material resources, I am doing what I can to research and plan for the film. So far I've become internet pen pals with two incredibly helpful and awesome 80 year old men. One being Connie's brother, the other being the first man who recorded her music. Both of them have so much to share about her life and I cannot wait to delve into it all. So, I'm well on my way to acquiring biographical data as well as the musical. But I want this film to be something more than just a portrait, like any good documentary, I want the story to be a microcosm of a greater issue. I want it to zoom out to capture an even bigger picture.
I've been thinking of a few methods of how this might happen. I want to interview music lovers from all walks of life, have them listen to Connie (maybe even on camera), and record their reactions. I'd also like to take a few willing participants and give them a CD of her music and have them listen to it and sit with it for a while, recording whatever comes to mind. Who does she remind you of? Who does she sound like? What is her playing style? What do you think of her voice? How does the music make you feel? What do you think of the melodies? Do you connect with the music? What kind of person do you think she is? Would you like to have known this woman? Do any of the songs get stuck in your head? What lyrics affect you the most? Do you think she should have been successful? Where would she have fit in with her contemporaries? Would she fit in? Etc, etc., etc. There's no such thing as too much footage.
I think I would also like to see if I can get any bands/singer-songwriters to cover any of her songs. I know there have been events in NYC in the past of bands doing her music, but I'd really like to have some performances in the film if I can. I want to attack this thing from all angles.
The main reason Connie's story has hit me so deeply is that I feel she and I are very similar people. I'm going to start filming the steps I'll be taking on my way to film school back in NYC to make this documentary, starting with my car ride into Brooklyn to meet with someone from Brooklyn College's film certificate program. Perhaps my quest to find out everything I can about Connie will end up as a personal discovery worth telling. Perhaps not. There's just as much of a chance of this endeavor being incredibly boring and self-indulgent as it could be entertaining. Again, there's no such thing as too much footage!
I almost admire her for the way she picked up and disappeared. I know, I know, I'm young, but sometimes there's this weird twinge in my spleen that tells me to just "go." Where to? I'm not sure. Why? I don't really know. I can't really complain about my life, there's strikes and gutters just like everyone else's. But from what I gather - and I don't pretend to know all the ins and outs of her personality - Connie seemed to have a quiet, never-ending, solemn solitude that just couldn't be shaken, and I think I understand. Yet she felt a need to create, a need to be heard. It could be that even if she achieved the commercial success she was so disappointed to go without, she would still be the Roving Woman who desired even more and perhaps have felt even lonelier. I think a lot more people than we know will be able to relate to that.
Stay tuned.
Spoken in the voice of Robert Stack: If you or anyone you know might be interested in assisting in any part of the production process, from PA-ing, to being interviewed, to playing her songs, please contact me.
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