CORNERSTONE

My approach to capturing these stories is not much different than when I was a journalist. As a director, I insist my team have a full understanding of the culture, geography and population. We limit the "footprint" of the production in order to avoid disrupting the operation of the mission or disturbing the fragile environment of the rural locations. We utilize the least amount of equipment and fewest crewmembers possible. I hire and train local people to assist on the crew. They, nor the organization profiled have editorial influence on the project.

Hiring people on location also is important to the CFTWF mission as a humanitarian organization. It offers a skills-transfer experience they would otherwise never have. This also allows us to obtain access to areas we otherwise would not have, as well as earn the trust of the people we are interested in learning about.

The profile organization only contributes to confirm the accuracy of events and to provide clarity when necessary.

As with all of our films, nothing is staged or scripted. We follow strict National Press Photographer Association (NPPA) journalistic standards and the team goes to great lengths to make certain all information gathered is vetted for accuracy. This should go without saying, however I have found in some cases, journalists and filmmakers stage and or recreate events without disclosing it to the audience. Many fail to confirm the information given to them, accepting "expert" opinions as fact without original sourcing and documentation to support it.

The Caring For The World Films team not only observes, we participate as humanitarian volunteers alongside the mission team (when possible). We do so with a critical eye focused on the work being performed. This gives us first hand insight into the reach of the mission as well as the impact.

This, in itself, makes shooting very challenging, as the volunteer mission is first priority and filming is second. As mentioned, nothing is re-created, staged or scripted and shooting happens when it happens, as events unfold. As you watch the film, keep this in mind as the cinematography for our films is breathtaking.

Every project has required multiple trips with the mission organization in order to uncover the real story. Usually the real story unfolds during the second and third trip.

Finally, please remember ALL of us who worked on this film volunteered. We were responsible for our own expenses and left behind jobs and family for weeks at a time. In post production, many worked around the clock 7 days a week for months in order to complete this project. Transcription alone took 7 months. The artists who created and participated in the production of the theme song "All I Want" converged in New Mexico from around the country and dedicated many sleepless nights to complete it-all pro-bono. The colourist and finishing post production team worked full time jobs then worked 10-14 hours per day on their days off for months to complete the finishing touches on CORNERSTONE-all for free! We did it in record time. Yes, we are a dedicated bunch.

I hope by explaining our methods it gives our benefactors, the profile organization, its volunteers, film festival committees and the public further insight and appreciation for the films we produce.