"Mister Rogers & Me" Tribeca Submission

"TRT is 82:36," Chris said. "If we don't make any more changes."

It's 11:59pm on Sunday, January 10. The Tribeca Film Festival deadline is tomorrow. Chris and I are wrapping up dozens of small tweaks.

We just re-cut the Bev Hall segment, for example, to include the amazing footage of the day "Mister Rogers' Neighborhood" visited Bev's Nantucket Neighborhood.

Then we pruned the textual quotes that act as chapter markers before each segment. They're all terrific, and super-salient. And Mister Rogers never wasted words. Still, nothing's more daunting in a movie theater (or on television, or an iPod) than a paragraph of text. So they're shorter now (but, hopefully, no less impactful).

Then we dropped in a tiny piece of new voice over ("When Ellerbee finally met Mister Rogers in person...") that I recorded down the hall. Her segment's almost done, save for a few pieces of new b-roll.

Now we're adding a great Linda Ellerbee soundbite that (like so many hours of great footage) somehow hit the cutting room floor prematurely. "We often say on our show," She says, "That sometimes the best thing you can do with your television is turn it off."

We'll make thousands more changes in the coming weeks and months, each one a tiny fraction closer to the story Mister Rogers challenged us to tell.

For now, though, our Tribeca Film Festival, rough-cut submission is laying off. The application (below) is printed. The messenger is booked. As they say in Hollywood, it's a wrap... for now.

Title Original: Mister Rogers & Me
Country: USA
Year: 2010
Work-in-progress: Yes
Changes: Still in progress: Dr. Susan Linn segment, soundtrack, plus assorted (Russert, Ellerbee, Jewett) b-roll and photo adds and v.o. tweaks.
Running time: 80 min.
Film type: Feature Documentary
Category: Family Friendly, New York
Premiere: International
Logline: American's Favorite Neighbor, PBS icon, Fred Rogers, sends a young MTV producer on a quest for depth and simplicity amidst a shallow and complex media landscape.
Synopsis: An MTV producer's life is transformed when he meets the recently-retired host of 'Mister Rogers' Neighborhood,' Fred Rogers. Friendship with the PBS icon sets the young producer on a hero's quest to find depth and simplicity amidst a shallow and complex media landscape through conversations with Susan Stamberg (NPR), Tim Russert ('Meet The Press'), Marc Brown ('Arthur') and more.
Estimated Budget: 100,000

Mister Rogers, Madaket Millie & Me

I received an incredible package from Family Communications today. It is the Holy Grail of video tapes that connects Mister Rogers to Madaket. We've been seeking it for inclusion in our documentary, "Mister Rogers & Me," for over three years.

The hour-long special, "Old Friends... New Friends," premiered in 1978 and features Mister Rogers' visits with animal activist (and "Golden Girl") Betty White, and Nantucket resident and honorary Coast Guard Warrant Officer (and local legend), "Madaket Millie" Jewett.

Local photographer Beverly Hall's photo of Fred and Millie hung in the living room of the West Wind, the cottage my mother rented there in Madaket, well prior to either of our realization that Mister Rogers himself lived next door. Of course, Chris and I visited Miss Hall in January, 2008. She was friends with both Fred and Millie, and told us the story about that day. Finally, then, I get to see the segment. And it's incredible!

Fred and Millie wander around the yard of her little cottage still standing today on the edge of Hither Creek (right across the street from the house my mom rented last year, just to the right edge of this photo).

As always, Mister Rogers goes straight for the heart. He asks about her childhood, about which she initially demures. With some empathic coaxing, though, we learn that she was born and raised there in Madaket before there were roads or electricity. Her mother died when she was young. She spent the bulk of her life alone there on the quiet, blustery edge of the island, a steely, terse curmudgeon who avoids eye contact, but loves her many pets and keeps watch over the choppy waters of the West End.

"You know, you have helped so many human beings," Fred says to her. "And so many people care about you..."

She is at first stunned, then momentarily moved, looking up to Fred with momentary vulnerability.

"Anybody who needs a helping hand if I can help, I don't what time of day or night it is, if it's three o'clock in the afternoon or two o'clock in the morning, I don't care what time it is. I do the best I can."

Back in his Pittsburgh studio for the end of the segment, Fred says, "There are so many different ways of expressing love, some very forceful and busy others very quiet and calm. I guess one of the great blessings of this life is being able to recognize love wherever we find it. And feeling confident in our own ways of expressing it."

Like most things Fred Rogers related, it is perfectly timed, arriving at my desk at the tail end of a thirteen-hour day just three days into a year that is already moving at a relentless pace.

Thanks, FCI. Thanks, Bev Hall. And thanks, Mister Rogers.

Mister Rogers, Ambivalence & Me

I spent yesterday afternoon in the closet wrestling with editorial challenges in my head, and technical challenges with my laptop. Were I less frustrated and annoyed, I might have laughed.

My closet is tiny and crowded with clothes. I sit on a tiny stool crouched over my Mac. My mic stand is broken, so I had to hold the mic in one hand and the pop screen (so every word starting with the letter "p" doesn't sound like a sonic boom) with the other. Ridiculous as it sounds, it takes me about thirty minutes per twenty-second take. There's so much to get right: pace, inflection, to say nothing of not stumbling over words. Heck, I'm not even sure what made me think I could do voice over; I never had before.

All said, I spent eight hours re-tracking less than ten minutes worth of voice over. It's time well-spent, of course, if I've managed to create a little clarity.

Example, it takes about five minutes of film (HDDV, really) for me to get to the back porch of Mister Rogers Crooked House where he first asked me about my job and exposed my existential ambivalence about it. Initial feedback (not including the Sundance folks, a grand total of three people have seen the most-recent edit) and my own intuition suggested I needed to heighten or clarify the conflict. The original v.o. went thusly:

Later, Mister Rogers and I stood on the back porch of The Crooked House staring out to sea. He asked me about my job, and frankly, I was a little embarrassed. I mean, here he was: America’s Most beloved Neighbor, creator and steward of one of television’s most-substantive, long-running shows.

Me? At worst, I produce silly stories about pop stars. At best, I keep music fans connected to the source of their inspiration.

Doesn't really seem to get at my conflict, or my ambivalence, right? So here's what I tracked yesterday:

Me? As one-time editor of the high school newspaper and sometimes singer/songwriter, MTV made a lot of sense. But I was ambivalent, a PBS mind in a jump-cut, sound-bit MTV world – trying to figure out just what I could do to make it a better place.

And then we get to the quote that began the whole journey:

Mister Rogers didn’t render any judgement, but said simply: “I feel so strongly, that deep and simple is far more essential than shallow and complex.” Deep and simple is far more essential than shallow and complex.

Minor differences, sure. But hopefully the kind of thing that'll create some additional narrative clarity.

Truth is, it's tough to have any sense whatsoever of whether the film hits its mark; I know every second of this story, and every inch of the tape. Try as I might, I can't come to it fresh.

In a perfect world, we'd show a few dozen people, gather some feedback, and make changes accordingly. But even with all of the support we've received from family and friends, we can only afford three more days of edit before submitting to Tribeca and Nantucket. There's no way we'll get everything done as we stand with these v.o. changes plus two dozen other tiny tweaks (Ex. 1: "00:07:09 - Fade Photo," Ex 2: "00:07:45 - Replace Photo").

Anyway, I've done about all that I can for now. Chris has new voice overs, plus two pages of notes. I've scripted the new Susan Linn segment, reached out to FCI and NBC for additional footage, remixed vocal-free version of my songs for audio beds, and secured the perfect song for the end from my pal, Casey Shea.

So now we just gotta' get back into the edit. Fast.

Year-End "Mister Rogers & Me" Update

Dear Kickstarter Friends,

As you may have guessed by now, "Mister Rogers & Me" was not one of the 2% of submissions accepted for the Sundance Film Festival. Chris and I always knew it was a long shot, but would never had made the submission deadline without your support. We're now focused on Tribeca, Nantucket and beyond.

Meanwhile, many of you may be wondering when your signed DVDs, CDs, and photos will arrive.

I just ordered 50 8x10" prints of one of my favorite spots on Nantucket. It's a photo I took in Madaket looking west towards the sunset from the Ames Avenue Bridge over Hither Creek. It's the last print in this series (and pictured above). The bridge leads to Smith Point and Mister Rogers' Crooked House.

Signed "Almost Home" CDs and prints, then, will ship within the next ten days. Before I can ship anything, though, I need you're "snail mail" addresses. Please send me a message here, or via benjamin [at] mtvi [dot] com.

DVDs, of course, will have to wait until the film's official release. At this point, we don't really know when that will be; it all depends on what happens with the premiere... whenever and wherever that is. We'll keep you posted!

Meanwhile, best wishes for a happy, healthy and joyous new year.

:), Benjamin

"Mister Rogers & Me" Not Headed To Sundance

Figures that I'd hear from the Sundance Film Festival about the fate of our sweet, little film just as I head to Hollywood to cover one of the most-ambitious, expensive blockbusters of all time for work, right?

I knew we'd hear no later than Wednesday, so -- not surprisingly -- I wasn't sleeping terribly well. My car to the airport was at seven, my flight was at nine, but I woke up at four and checked my Blackberry. I tossed and turned another hour, then got up to get ready. And there it was in my inbox, subject header "2010 SUNDANCE FILM FESTIVAL NOTIFICATION."

Dear Benjamin,

On behalf of our Programming staff, I would like to thank you for submitting your film to the 2010 Sundance Film Festival. Unfortunately, we are not able to include it in our program this year. We received a record 9,800 submissions this year, and many tough decisions had to be made in order to narrow the field down to under 200 films. Please know that your work was carefully considered by our team, and we viewed far more worthy films than we had room for in the program. I sincerely hope that this decision does not discourage you in any way. We wish you the best of luck with your film, and we look forward to having the opportunity to view your work in the future.

Sincerely,

John Cooper
Director, Sundance Film Festival

Yes, I am disappointed. But no, I am not surprised.

My father points out that only two percent of films were accepted. My wife points out that getting the film done and submitted is an accomplishment in and of itself. And I'll point out that we never really thought we had a chance anyway; Sundance favors hard-hitting issue docs (not to mention fully-realized ones; ours is a work-in-progress).

What's next? The SXSW Film Festival deadline is December 11. The Tribeca Film Festival deadline is January 11. The Nantucket Film Festival deadline is February 1.

Chris and I will spend a few more days in the edit tightening the segments, clarifying the stories, and scoring with contributions from Casey Shea, Jonathan Hollingsworth, The Poem Adept (Davy Rothbart's brother's band) and me (I've remixed a bunch of "The Invention of Everything Else" tracks for the purpose).

We will make "Mister Rogers & Me" an essential documentary for festival director's programs.

Stay tuned...

It's Official: "Mister Rogers & Me" Is An Actual Movie!

Hope the headline didn't throw you.

No, we haven't heard back from the Sundance Film Festival. And remember, the odds are 1 in 25 (or some 4%) that our documentary will be accepted. (Less likely still, I think, given the festival's slogan this year: "The New Rebels.)"

Still, we're one step closer to being a legitimate movie: "Mister Rogers & Me" has an IMDB page!

And check it out; it's got a summary!

An MTV producer's life is transformed when he meets the recently retired host of 'Mister Rogers' Neighborhood,' Fred Rogers. Friendship with the PBS icon sets the young producer on a hero's quest to find depth and simplicity amidst a shallow and complex world through conversations with Susan Stamberg (NPR), Tim Russert ('Meet The Press'), Marc Brown ('Arthur') and more.

I mean, yes, of course I wrote it, but still. I'm excited.

Because today we may just be a few words and text links, but someday soon, there's gonna' be a poster, and some clips, and eventually even some premiere pics...

Stay tuned!

Thank You "Mister Rogers & Me" Supporters

A little over three months ago, we launched a Kickstarter campaign to crowdsource "Mister Rogers & Me" finishing funds.

One month ago, we submitted a rough edit of our 79-minute documentary to the Sundance Film Festival.

Two days ago, Mister Rogers' Tribute To Children statue was unveiled in Pittsburgh to celebrate the fortieth anniversary of "Mister Rogers' Neighborhood."

And yesterday afternoon, Pittsbugh's WQED christening studio A -- home of "Mister Rogers' Neighborhood" throughout its original run (1969-2001) -- as the new Fred Rogers Studio, then threw its doors wide for special tours of the Neighborhood set.

Thanks to the following neighbors for supporting our film, and helping keep MIster Rogers "deep and simple" legacy alive.

Kecia Barnhill
Tricia Martin
Jon Hurwitz
Linda Shortman
Robert Perreault
Aimee Schulman
Bryan Thomas
Tim Spence
Matt Keeley
Karen Rando
Justin Tormey
Anne Ferola
Mike Levine
Torrie LM
Steven Cherry
Elizabeth Harper
Jennifer Macellaro
Mike & Beth Petricoin
D. Scott Miller
Michael
Erica Laden
Ronald Lieber
Brian Ives
Sara Butterworth
Alex Brough
Holly Yarbrough
Brian Hart
Blaine Bell
Joe Andosca
LauraBelle Brown
Casey & Langhorne Shea
Kristine Qualls
Angela
Lucy Cogswell
Heather Stansfield
Greg Kaplan
Carissa Potenza
Greg & Reva Merchant
Brian Turner
Josh Renaud
Kris Jensen-Van Heste
Nichole Miller
Katia Maguire
Phoebe & Charles Basso
Helen Kralich
Luke
Joe Voss
Peggy Kauh
Nicole Zelinski
Ted and Kathy Curtin
Chris & Megan Abad
Ken M. Wilson
Michael Horgan
Lisa Yao
Sue Gefroh
Leah Browning
Christie Strong
Sarah A.
Robin Turner Oswald
Sebhat Browne
Kay Marcel
Kirin Kalia
June O'Toole
Bill Attinger
Vickie Perkins
Sarah Armstrong
Michael Lake
Daniela Muhling
Ann Kwolek O'Neill
Brian Paris
Kyle Bavender
Ryan Kroft
Mike Pence
Mikel Derby
Robert Johnsen
Theo Syslack
James Izurieta
Franya Barnett
Pete Clark
David Beach
Elyse Rubin
Gene Mahon
Annie
Allison O'Keefe
Maegan Gudridge
Glenn Platt
Lesley Neadel
Tara Taylor
Andrea Olson
Lisa Giangreco
Megan Nebel
Jarrod Bates
Loell Revell Shepardson
Jennifer Roberts
Rachel Fox
Curtis Raye
Nancy
Sarah Ezolt
Jacob Byard
Russ Johnson
Joe Hale
Catherine Lajoie
Lauren Melton
Mary Strolle
Susan Deichsel
Dennis
Gary L. Springer
Mary Ellen Fahey Upton
Robert Watson
Maureen McCarley
Romey Craig Fluck
Sandy Mayers-Green
Sue Wen
Carrie Mercer
Eric Thompson
Liz Hillger
Matthew Lloyd Buck
Rachel Eash-Scott
Elisabeth English
Virginia Virkus
Meyer Malka
Amy Hollingsworth
Amy Sanders
Wendy Boyd
Kristen O'Connell
Tom Loftus
Sarah Revitte
Samantha Rader
Robb Boland
Amber Derek
Regina Gelfovision
Paul Stelter
Paula J. Kelly
Pembry & Pedro
Kimberly Cain
Michael Highland
David Mazzucchelli
Sara Steetle
Heidi Dittmar
Caitlin
Mar Ricketts
Andrew Crowley
Annette Laing
Gordon McAlpin
Dianna Garland
James Elmore
Peter Couvares
Stephanie Coronesi
Dennis Kulm
Sarah Ferguson
Jennifer & Eric Rohr
Neera Garg
Jesse Nicely
Kim Balkcum
Brian Linder
Ralph Aversa
Amanda Walker
Melissa & Derrick Russell
Otis Cornelius
Stephanie Simmons
Joel Schroeder
Communist Prime
Mary Warren
Leonard Lin
Ramla Gabriel
Mark Genszler
Sara White
Melissa Ecker
Gail & Richard Keller
Lauren Scott
Meredith Keller
Ricci Rukavina
Fred Benenson

Mister Rogers, Father Dave & Me

A few weeks ago, my pal Brian Ives appeared on Sirius Radio's Catholic Channel to discuss U2 and faith, a subject he knows I hold near and dear.

Afterwards, he told me he'd mentioned our little documentary to the show's producers, with whom he later connected me via email. Friday night after work, then, found me thirty-six stories above Sixth Avenue, alone in Sirius' massive, space-aged lobby. My interview on Father Dave's Busted Halo Show was scheduled for 8:20. Sure enough, Executive Producer Robyn Gould appeared before me with a huge, rock 'n roll smile just seconds prior. And just an instant after shaking hands with Father Dave and producers Brett and Brian, I was on air.

Now, you may be wondering, why the Catholic Channel when I'm lapsed, and Mister Rogers when he was Presbyterian? And why now, when the film's not even done?

I look at it this way. It's not about the film, it's about the assignment. Mister Rogers told me to spread the [deep and simple] message," so I'm going to seize on any opportunity to do so; it's only going to broaden that message's reach.

Moreover, specific tenants of Christianity never really seemed to be the point. True, Mister Rogers was an ordained minister who treated the space between himself and his audience as sacred, but his values (articulated so well by Bo Lozoff) were core to the world's religions: take time to reflect, be wary of materialism.

So there I was, rambling about my day job (came to learn that Father Dave used to work for my supervisor), my music (specifically, how Mister Rogers gave me the courage to be myself), and the film. Father Dave was quick and hip and funny, and connected it all with a through line of "cool," identifying and inquiring about my "PBS mind in an MTV world." I was self-deprecating (perhaps too much so), characterizing myself as "the least cool guy in most rooms" (which may actually be true. And while the conversation stayed mostly philosophical, Father Dave gently brought it home in the end.

He played a clip from Mister Rogers' last episode in which he says,

I'm just so proud of those of you who've grown up with us, and I know how tough it is some days to look with hope and confidence on the months and years ahead. But I would like to tell you what I often told you when you were younger: I love you just the way you are. And what's more, I'm so grateful to you for helping the children in your life to know that you'll do everything you can to keep them safe, and express their feelings in ways that will bring heeling in many different neighborhoods.

Afterwards, Father Dave said, "And that's it, right? God loves us just the way we are, whether we're cool or uncool." And as he wrapped up the interview, he asked when the film was going to reach theaters.

I rambled a bit and finally said, "Sometime next year," then added -- knocking on wood as an afterthought -- "God willing."

To which Father Dave replied, "Looks by what you've accomplished thus far, God is willing."

I spilled out onto the chilly city with a smile, and strode west. The streets were streaked with rain, reflecting the neon lights as if everything were run through with brightly-lit, high voltage. I dialed up Coldplay's "Life In Technicolor" on my iPod, and walked on absolutely gobsmacked that everything is in its right place.

On The Commercialization Of Childhood

Our primary objective in visiting Dr. Susan Linn's Campaign For A Commercial-Free Childhood offices in Boston was to add factual heft to our film.

Of course, Dr. Linn was a perfect candidate for the gig, as she's written two key texts on the subject of children and media, "Consuming Kids," and "The Case For Make Believe."

In the few days since we've been home, I've immersed myself in her work, and others (like The Kaiser Family Foundation's 114-page opus, "Generation M: Media In The Lives Of 8-18 Year-olds).

What's challenging about tackling the subject of marketing to children is breaking away from our own memories as adults. We remember ads for Connect Four or Burger King, so think, "What's the harm?" The harm is in the massive increase of marketer's expenditure and screen exposure, and the erosion of creative time as a result. Have a look:

32% of two to seven-year olds, and 26% of children under two have a television in their bedroom. (Source: Campaign For A Commercial-Free Childhood)

In 1983, advertisers spent $100M on marketing to children. In 2008, advertisers spent $17B. (Juliet Schor, "Born to Buy")

The average 18-year-old has witnessed 200,000 acts of televised violence. That's nearly three-a-day. (Source: National Institute On Media & The Family)

The average 18-year-old has seen over 700,000 advertisements. That's more than 100-a-day. (American Psychological Association)

The average 10-year-old can name 400 brands. (Source: Progressive Policy Institute)

Children between 4 and 12-years-old spend $30B a year on junk food, candy, toys and games, an increase of 400 percent in twenty years. (Source: Progressive Policy Institute)

Children and teenagers influence up to $500B in family spending annualy, a 1000% increase since 1960. (Source: Progressive Policy Institute)

The average child spends six and a half hours using electronic media, including three hours of television. (Source: Kaiser Foundation)

98% of televised food ads seen by children are for products high in sugar, fat or sodium. (Source: CCFC)

Obesity rates among children 6-11 have quadrupled since 1980. (Source: CCFC)

85% of Americans believe that children's television should be commercial-free. (Source: The Center For The New American Dream)

87% of Americans say that "current consumer culture makes it harder to instill positive values in children." (Source: The Center For The New American Dream)

In the end, "Mister Rogers & Me" doesn't endeavor to be preachy, but instead to give pause, and allow for reflection. Stay tuned.

Mister Rogers, Susan Linn & Me

As I say in "Mister Rogers & Me" voice over, "We learned pretty quickly that there are no coincidences in Mister Rogers' neighborhood."

A few weeks ago, Slamdance co-founder Paul Rachman gave Chris and I some great feedback on our film, not the least of which being that it needed more facts about the effect of media on children.

In my research, I discovered many valuable facts and figures at the Campaign For A Commercial Free Childhood website. CCFC is a national, non-profit organization devoted to limiting the impact of commercial culture on children. So I emailed CCF's co-founder, Dr. Susan Linn.

Shortly thereafter, Save Mister Rogers' Neighborhood founder, Brian Linder, told me, "Dude, she wrote the book the impact of media on television!" Sure enough, Dr. Linn's "Consuming Kids: The Hostile Takeover of Childhood" is full of alarming data, like that American advertisers spent $17B marketing to children last year up from $100M in 1983.

A few weeks later, when I asked Brian if he had any suggestions as to what I might ask Dr. Linn, he said, "Well, obviously ask about Audrey Duck's guest appearances on The Neighborhood." Um, obviously.

Ends up that Dr. Linn is a ventriloquist who, along with her puppet, Audrey Duck, appeared on "Mister Rogers Neighborhood" numerous times, then went on to get her PhD in psychology and co-found CCFC. And so, in seeking fact to inform our very personal, emotionally-grounded film with hard facts, we found the perfect person: an expert who knew and worked with Mister Rogers, and carries his legacy with her every day!

Chris and I spent a few hours with Dr. Linn at her office in the Judge Baker Children's Center in Brookline Thursday. Not surprisingly, Dr. Linn is a thoughtful, warm, remarkably intelligent and hugely-engaged person. We talked about how she became involved with The Neighborhood, her time in there, what she learned from Mister Rogers, the gravity of the situation, and the stakes of inaction.

We'd initially planned to place Dr. Linn's expertise interstitially throughout the film. But it was apparent to Chris and me as we post-mortemed the shoot that her deep connection to Mister Rogers and passionate, informed engagement with the issue warrant a full, stand-alone segment.

I haven't transcribed the interview yet (we only got home eighteen hours ago, eight of which I was sleeping, and eight of which I've been working), but my favorite part -- and what is sure to make the final edit for the film -- is her simple explanation that with the proliferation of screens and targeting of children, we are raising a generation of children overweight, overly-sexualized, and overly-violent consumers incapable of relishing the silence required to create art, music or poetry.

And then what?