This a personal blog of movie- and book-related musings of David Joyner. See also https://sites.google.com/site/wdjoyner/
2015-03-30
Elizebeth Friedman biography, "Divine Fire"
While I did a lot of work on it, the mountain of effort is due to Katie Letcher Lyle, who created the almost finished manuscript years ago, through personal interviews she had with with Elizebeth Friedman herself. I'm grateful to Katie for inviting me to help polish up some technical details and hope you, the reader, enjoy the result, Divine Fire.
Sadly, Katie died suddenly in August 2016. There is a short obit included in the books' preface.
Recently, PBS has broadcast an hour long documentary based on Fagone's 2017 biography of ESF, The Woman Who Smashed Codes. You can find that documentary streaming on you computer here: The Codebreaker (aired 2020-01-11). The website says the streaming "Expires: 02/08/21". Jason Fagone gave a talk in 2018 on his book and it's been posted to youtube.
The pdf of Divine Fire is here.
2015-02-26
The Colmar Incident
The SIGABA machine was used during WWII by the US Army in its most highly classified operations. Unfortunately, it went missing around the time of the Yalta Conference, and allies were very concerned that the Nazi's had gotten a hold of the machine (Colmar is located in eastern France about 10 miles from the border with Germany).
caption: The Yalta Conference was held February 4-11, 1945, in the Black Sea, about 1500 miles east of Colmar.
The main duty to track down the machine was given to Army COL David Erskine, who, with Navy LT Grant Heilman, eventually found it in the Gresson River. This is the story of its recovery. Below, we follow almost verbatim the NSA document mentioned above [CI].
The Colmar Incident
Introduction
As the Allied armies were preparing for the final assault into Germany during the waning months of World War II, an event occurred which had the makings of a major disaster. An advancing U.S. Army division lost a SIGABA, the cryptographic machine used for the highest level of U.S. communications. This type of machine was a vital part of a world-wide combined (UK/US) communications system, and should it fall into enemy hands, the results could be devastating. All of the Allied war plans for the spring assault into Germany, for example, had been enciphered by SIGABA, as well as arrangements for President Roosevelt's pending trip
to Yalta. And it was the only highly secure U.S. cipher system available to many U.S. units in Europe at that time.
After news of the incident reached Arlington Hall, the most important question was whether the equipment had fallen into enemy hands. And, under wartime conditions, it had to be assumed, until proven otherwise, that the SIGABA machine had, in fact met this fate. As a consequence. there was a massive effort to fill this cryptographic void while the matter was being investigated. And the investigation itself, in addition to diverting men and equipment from the war effort, deeply involved persons at the highest levels of the U.S. and Allied governments and military establishments.
Events leading to the disappearance
On 6 February 1945, Headquarters, Communications Zone, European Theatre of Operations (Paris) dispatched an Urgent~Secret message to all strategic commands in Europe, informing their signal officers to suspend use of certain cryptographic systems and materials due to a possible compromise. An information copy of the message, which read as follows, was also sent to the War Department and Arlington Hall:
Suspend use immediately of editions 18 and 19, of systems 2201, 2222, and 2242, editions 10 and 11 of CCBP 0125 and 0126 and edition 2 of 514.
Grave possibility of compromise of all mentioned exists, all Commanders to be informed of possibility of enciphered traffic via radio in above systems being read by enemy. Reserve systems now being distributed.
Use only secure landline. courier, or reserve systems where available until security restored. Nets 12, 13. 14, 1S and 17 not affected as well as CCBP 0101, 0102, and 0103 by above. Inform all subordinate units concerned.
But it was not until 10 February, when the officer in charge of the War Department Code Center called persons at Arlington Hall to alert them that an extremely important message concerning the compromise had just been received, that any specific details became known concerning the systems involved in the compromise:
Parked truck belonging to two-eight infantry divisions containing following documents stolen in Colmar France: SIGABA, .... Use of all systems listed has been suspended in this theater and every possible action being taken to restore security. CCBP0131 has been distributed to all holders. Secure landline and courier being used in most cases. Full investigation of loss being made by Sixth Army Group. Will keep you informed of development and action taken.
A trans-Atlantic enciphered phone conversation on the 11th, between Arlington Hall Station and the Signal Intelligence Division, ETO, Paris, afforded additional information. It noted, among other things, that a 2.5-ton truck had been stolen from a city street in Colmar, France, containing the SIGABA and associated, and other, equipment and documents. It further noted that the SIGABA and these other materials were in a locked safe in the ``code room'' carried by the truck.
caption: A GMC 2 and a half ton US Army truck from WWII.
The theft involved the 28th Infantry Division, which was being transferred from Kayersburg, France, to the city of Colmar. Colmar had been evacuated by German troops several days before, and on the day of the theft the enemy was only about four miles to the north of the city.
The event had its beginning on 4 February, when the chief of the message center of the 28th Division's Signal company departed from Kayersburg, with an advance station of his cryptographic team and equipment, to set up a message center in Colmar. When the men arrived, they found there were no billets ready or even allocated to the signal company. Having found an unoccupied house at No. 16 Barbarassastrasse, and having obtained official permission to occupy it, they unloaded their cryptographic equipment and established communications.
The next day, 5 February, the second half of the team, with spare sets of cryptographic equipment, including a SIGABA, departed for Colmar. Upon arrival, the men located the first group. (Unfortunately, though the signal company's motor pool section, which had the responsibility for establishing a guarded truck park, had not yet arrived.) After locating the division's message center, which had been established by the advance party the day before, the men were told that their billets were at No. 16, and were instructed to park as near to the house as possible. Subsequently, the truck (with SIGABA and associated equipment) was parked for the night in front of No. 20 Barbarassastrasse, but without guards, as normally required.
The next morning, when two officers went to the truck, to make some repairs, it was gone. After reporting to the message center chief that the vehicle was missing, the two men began searching for the truck.
Note added: David Kahn (The Codebreakers, [K], page 510) gives another account: Two SIGABA guards parked the truck outside a brothel in Colmar on the evening of February 3 to visit some friendly ladies. When they emerged the truck was gone. One version of the story says these guards were sent to Leavenworth for the remainder of the war, and the pardoned later.
About 11:15a.m. they found the trailer to the truck abandoned on a dead-end road. Tire tracks at the scene indicated that the trailer had been unfastened, and the truck had been turned around and driven out of town. A quick inspection revealed nothing was missing from the trailer, which had contained only unclassified material.
G-2 (Intelligence staff) of the Division Headquarters in Colmar, coordinating with the Military Police, ordered a complete search of the area, and the Inspector General, 28th Division, ordered a thorough investigation of the responsible personnel. He also sought anyone who might have any information concerning the lost truck. This request had some results, revealing, among other things, that a radio car from the same company had been parked across the street from the 2.5-ton truck and that men of the company had made frequent trips to the car throughout the night, for the purpose of occasionally running the motor. However, these men had neither seen nor heard anything and, in fact, had taken no notice of the truck in question.
It was further directed that all units and divisions conduct officer-supervised searches to include all sheds, barns, woods, mountain areas, etc.. SHAEF (Note added: SHAEF - Supreme Headquarters, Allied Expeditionary Force - European Theater of Operation, General Eisenhower's Headquarters.) was also asked to conduct a complete theater-wide search and the Sixth Army Group directed all headquarters troops, and subordinate units as well, to inventory the motor numbers and inspect the content of all 2.5-ton trucks. Also, the help of the local police and the Surete Militaire (CIC's French counterpart) was promptly enlisted. Descriptions of the truck and safes, but not the contents, were given to the French officials. (American and British headquarters elements in Europe received more specific information about the contents of the truck.) General Eisenhower personally became involved and ordered that a vigorous investigation and search be made to locate the missing vehicle. With the possibility of the disclosure of all of the plans for the spring offensive, the Supreme Allied Commander in Europe gave top priority to the recovery of the truck containing the SIGABA; all Allied high commands participated in the search.
Note added: According to [K], Eisenhower ordered General Jacob L. Devers, commander of the 6th Army Group to find the missing safe(s). Devers assigned this to his chief intelligence officer Colonel David G. Erskine.
Crypto-equipment found
Extensive air and ground reconnaissance was conducted while motor and foot patrols continued their more intensive searches throughout the Sixth Army Group area during February and the early days of March. During this time, several reports of incidents involving the French came to light, casting suspicions that the culprits could very well be Frenchmen. One involved a truck, resembling the stolen 2.5-ton GMC, which had run through a road block at Montbilliard, 35 miles north of Colmar. On another occasion, on an overnight visit to Colmar, the Seventh Army's CIC Detachment had three jeeps stolen by French units. Also, as soon as it became known that Colmar was being occupied by Allied troops, French soldiers from various units not with the French and American divisions occupying the town, suddenly appeared on the scene and "appropriated''
whatever trucks and vehicles they could.
Although such activities strongly suggested that the French were involved with the theft, there was another equally suspicious - and far more ominous - possibility.
Because members of the 28th Division's signal company had been captured before 5 February by the Germans, the enemy could have known that such highly sensitive cryptographic material was in the Colmar area, and made a special effort to acquire it.
Although many reports continued to come in during February, the results were all negative. However, the vehicle inspections did turn up some enlightening facts. Stealing trucks from front-line positions was obviously common practice, as evidenced for example by the recovery of six 2.5-ton trucks found in the possession of the wrong units during the serial-number checks.
Four days later, on the morning of 9 March 1945, the truck was finally located, abandoned in a wooded area several miles north of the city of Rambervillers, approximately 45 miles northeast of Colmar. The bumpers of the truck had been removed, and the numbers had been painted out; otherwise, there was no other apparent damage to the truck. However, the safes containing the SIGABA and the other equipment were gone.
Later that same afternoon, a search party from the Deuxieme Bureau, II Corps, First French Army, discovered the upper half of the safe (designated SIGRINO, Chest CH-76), as well as a small company field safe, submerged in the Gressen River, a small mountain stream which runs between the towns of Chaenois and Scherweiller. The safes were immediately placed under guard and turned over to the Sixth Army Group. The upper half of the SIGRINO contained the SIGABA and other classified equipment. The lower half of the safe, which had not yet been recovered, contained instructions, pamphlets and rotors for the SIGABA.
Meanwhile, the search for the missing safe and equipment intensified. The river was dredged near the bridge where the first discovery had been made, and plans were even made to divert the water flow. Working on the suspicion that the safes were probably thrown into the river in early February, at a time when the water level was much higher, investigators theorized that the swift current would have carried them a little farther downstream. Therefore, river dredging efforts were concentrated a few yards downstream from the bridge.
While this operation continued, Headquarters, Sixth Army Group, began a thorough inspection of the recovered. equipment. The vital question was still whether the safes, rotors, and associated material could have been compromised. Fingerprinting and other investigative analyses were virtually impossible, because of the deteriorated condition of the mud·and-water-soaked equipment. However, after a thorough inspection, G-2 and Signal Intelligence decided that, since the settings in the safes had not been re-adjusted, and since there was no evidence suggesting that attempts had been made to open the safes, no compromise existed.
Note added: Examination proved that the rotors were set up in arrangement for 5 February. (This was, however. in violation of strict security rules for moving the machine, as rotors were never to be left in place when transporting such equipment.)
Finally, eleven days later, on 20 March, the lower safe was recovered from the river bottom about 100 feet downstream from the bridge.
Note added: The version of the story in [K] is similar: Erskine was joined by 2-star General Fay B. Prickett and Navy Lieutenant Grant Heilman. Based on a tip from a French source, Erskine and Heilman found the machine and safe(s) in a river.
source: Johnson [J]
Efforts to open the safe were unsuccessful because the combination was clogged with silt. Subsequently, the safe was sent to Paris where it was "opened'' at a "ceremony'' attended by at least half of the intelligence staff in Paris. Attempts were first made to open the safe with a torch, but, fortunately, the torch ran out of oxygen, after cutting about two inches, for when the safe was finally cut and drilled open later, long after the VIP guests had departed, it was found to contain two 55-pound thermite bombs and 14-pound blocks of TNT, all wired to detonators. It was also fortunate that these explosive had not been designed as a booby trap; they were simply the devices normally carried with cipher machines to destroy them if they were in danger of being captured by the enemy.
source: Johnson [J]
Suspects
Although no written records can be found regarding who had actually stolen the truck, an interview with an officer who was active in G-2 efforts at Headquarters, ETO, Paris, during the Colmar incident did uncover some interesting information. He stated that during the Inspector General's investigations, two French peasants commented that the American Government could find its truck in the "woods,'' and, further, that the "boxes'' in the truck had been thrown into the river. Although the woods and river were not identified by name, their description of the surrounding area was sufficient to permit the truck and equipment to be found and these two men were subsequently apprehended on the suspicion they participated in the theft. During their interrogation, however, it was learned from these Frenchmen that it, was actually their friend, a farmer, who had taken the truck to move his household furniture.
Note added: Kahn [K] relays a story told to Erskine that it was "borrowed'' by a French military chauffeur who lost his own truck. When the investigation started, he was afraid of getting caught, so dumped the boxes in a river.
The farmer's name was never disclosed by his friends; consequently, he was not apprehended for questioning. But in view of these revelations, the consensus at Sixth Army Group Headquarters was that the vehicle had been stolen for the value of the truck itself, and that the thieves were unaware that the truck contained highly valuable and sensitive cryptographic equipment.
Note added: According to Johnson [J], Erskine was awarded the Bronze Star and the Legion of Merit, and was eventually promoted to Chief of Staff for Intelligence for all the Army ground forces. He retired in 1952.
source: Johnson [J]
Bibliography:
[CI] "Colmar Incident,'' Colmar_Incident.pdf
[K] David Kahn, The Codebreakers, revised and updated edition, Scribner, 1996.
[J] Thomas M. Johnson, "Search for the stolen SIGABA", Army, Feb. 1962, pp 50-56.
See also the references in:
[SC] M. Stamp and W. Chan, "SIGABA: Cryptanalysis of the Full Keyspace", available as a pdf.
2015-01-31
Elizebeth Friedman and the Gordon Lim case
Gordon Lim was a wealthy Chinese businessman who lived in Vancouver, British Columbia. He was educated at Peking University, in China, and Oxford University in England. He owned a rare gem importing business, the Wat Sang Company, and was suspected for years of operating a large drug smuggling ring by the Canadian authorities. The Royal Canadian Mounted Police (RCMP) investigation headed by Corporal Haywood into Gordon Lim took 18 months. The The Canadian Department of Pensions and National Health requested the U.S. Coast Guard's help in tracking the operations of Gordon Lim. At the time, the Coast Guard was the enforcement branch of the U.S. Department of the Treasury which followed radio traffic of ships entering U.S. waters. According to a letter dated November 4, 1937, from Chief Sharman of the Narcotics Division in Ottawa to Commissioner Anslinger, of the Federal Bureau of Narcotics in Washington D.C., over 40000 cables were examined by Canadian intelligence agents. Of all these, 26 were forwarded to Elizebeth Friedman's office for decryption.
According to Elizebeth Friedman's files, other aliases for Gordon Lim were: Lim (Lin?) Fong Duck, Lim Shik Yuen, Yuen Duck, and several variations on these names. For example, Canadian records list a steamship passage on ``The Empress of Japan'' from Vancouver to Hong Kong for a Mrs Gordon Lim and a Lim Fong, sailing March 10, 1934. This suggests Gordon Lim may have used one of these aliases when traveling to and from China.
In this case, over 40000 cables were examined by United States and Canadian intelligence agents. The decryption took months. In fact, according to an audio interview, Mrs. Friedman reported that her team did not even want to try, knowing the difficulty. However, she kept trying different possibilities and very gradually, over a period of months, made some progress. As an example of the progress made, she discovered that the Chinese commercial code used as a basis for the ciphers was in Cantonese.
Chinese characters were transmitted in groups of four numerals.
In Washington DC she was provided with an expert in Mandarin and made good progress. She flew to Vancouver to work with Canadian intelligence authorities, including a Cantonese expert named Mr. Yii Choong Leong, of the Royal Canadian Mounted Police, where all the messages were broken. The basic meaning of the messages was known. For example, one message might have described specific shipment which was later intercepted by authorities. Their job was to "reverse engineer" the encryption system used by Gordon Lim and his associates. In spite of the fact that the cables were in Chinese, a language unfamiliar to Mrs. Friedman, and used four different cryptosystems, she and her team were able to break the ciphers.
In his trial in January 1938, Lim was convicted of smuggled opium out of China to North America. At the same time, as a gun-runner, he exported large quantities of guns and ammunition from Canada into Hong Kong.
PS: As Elizebeth Friedman recalls in her audio interview of 1974, the RCMP discovered how Gordon Lim organized his opium shipments by accident. Lim's smuggling organization had one merchant seaman working for the Empress lines and one working for the Blue Funnel Lines. Both these shipping companies had routes from Hong Kong to Seattle and Vancouver. In one instant, a Blue Funnel Line freighter was backing out of dock when it got tangled in some rope with opium packets tied to it. It turned out that a seaman hired by Lim's group would hide packets of opium, tied to a long length of rope, in a hollow pipe on board a ship. When this reached about a mile from shore, the seaman would transfer the rope to a swimmer, who would swim it into the dock, often swimming underwater, with one end of the rope in his mouth, the other end trailing behind.
2014-12-25
Elizebeth Friedman and the Holmwood case
The Holmwood case is a prohibition-era legal investigation concerning events up to and including the seizure of the SS Holmwood in October 5, 1933, in the Hudson River, and the subsequent trial of the smugglers. The New York Intelligence Office (of the Coast Guard, as part of the Treasury Department) used Elizebeth Friedman's cryptanalysis of telegraph messages between the Holmwood and shore-based agents.
The best source of information from the ESF collection at the Marshall library, Box 6, File 24, "Notes on the solution of cipher and code used by the Holmwood" (14 pages), dated October 11, 1934. This document describes the investigation of the liquor smuggling operations of the Holmwood from 1930 to 1934. The first interception was November, 1930, by the New York Intelligence Office of the Treasury Department. The Coast Guard operated radio stations which monitored rum-runner telegraph stations. Usually these were in a telegraph cipher-code but sometimes they were in plain English. For example, it was reported that at 1505 on October 3, 1933, Radioman First Class B. E. Howell, of the New York Intelligence Unit, intercepted the following message
Anchor the boat in good place immediately. Take all men off in one of life boats. Hide the life boat if possible. Come ashore on New York side. Call [undecoded phone number] when you come ashore. PA code.
This message was preceded by a telegraph cipher-code
JDSLE 2221 1612 WJJE .... DEMPY.
which was decoded (by the office of ESF) as
Heave your anchor immediately and get underway. Stand up the river towards Albany.
This led to the seizure of the Holmwood. ESF wrote a strong commendation letter for Radioman Howell for his hard work and dedication to service.
2014-05-29
The GMU Studio A series of videos
- Studio A: Kathryn O'Sullivan and Paul Awad
Husband and wife team of director and screenwriter for the western web series, Thurston.
Good discussion of webseries development.
- Studio A: Shanti Thakur
Shanti teaches at Film Hunter College in NYC. Writes and directs high-concept shorts. Good general discussion of filmmaking in general.
- Studio A: Jean-Paul Chreky
Excellent discussion of a script supervisor's role
- Studio A: Melissa Bisagni
Melissa Bisagni is the Smithsonian Film & Video Center Program Manager. Good discussion of the Native American Indian in film.
- Studio A: Lance Kramer
Lance Kramer co-founded Meridian Hill Pictures, a production company, with his brother. They specialize in documentaries and education. Good discussion of production issues and documentary filmmaking.
- Studio A: Erin Essenmacher
Erin Essenmacher is an award-winning writer, director and producer of docuemhtary films. She serves on the board of directors of Gandhi Brigade and is President of the board of Women in Film and Video, Washington, DC. Excellent discussion of documentary filmmmaking, women in film, indie film.
- Studio A: Jamie Nash
Scriptwriter for "Adventures of a Teenage Dragonslayer", "Altered", and others. Good discussion of nuts and bolts of being a fulltime screenplaywriter. Jamie has partnered a number of projects with Eduardo Sánchez (The Blair Witch Project) and other co-writers. He talks about the co-writing process, the production process form the writers' perspective and about Amazon Studios' model.
- Studio A: Tai Burkholder
Excellent discussion of an executive producers' role, a producers' role, line producer's (also a production supervisor's) role, and a production manager's role.
- Studio A: Mark Ruppert
Ruppert created the 48 Hour Film Project. He got the idea from the already popular 24 hour playwright project. Excellent discussion of creating short films in a short amount of time.
- Studio A: Otessa Ghadar
Otessa Ghadar is the founder and president of new media production company 20/20 Productions. Otessa is most known for her long-running webisode "Orange Juice in Bishop's Garden", which is all about teens growing up/getting down/coming out in the 90s. Great discussion of the production side of making a web-series and connection with social media.
- Studio A: Thomas Kaufman
Tom Kaufman is a award-winning DP, with a lot of documentary and TV experience. (He is also a mystery novel writer.) Excellent discussion of the work of a director of photography.
- Studio A: Marc Lieberman
Marc is a producer and partner with Cavalier Film, and produces for the Onion News Network. Cavelier Films is one of the few production companies with an open submission process. Excellent discussion of indie film business.
(The audio is way out of sync in this video.)
- Studio A: Megan Holley
Megan is a screenwriter and film editor. Excellent discussion of being an indie screenwriter.
She has also directed films and discussed aspects of the production pipeline.
(The audio is out of sync in this video as well.)
- Studio A: Estel Dillon
Videographer, editor, photographer for NBC News for 25+ years. Discusses his experiences as a TV news cameraman.
(The audio is out of sync in this video as well.)
- Studio A: Eric Weissmann
Eric is an entertainment lawyer in southern California, a so-called "super lawyer." Discusses his experiences as an entertainment lawyer. Lots of funny anecdotes.
- Studio A: Peggy Pridemore
Location manager for many productions, such as Argo, and many of the major films which have a portion of the film shot in DC. Excellent discussion
of the duties of a location manager in the DC area.
- Studio A: Marshall Herskowitz
Herskovitz was a creator and executive producer of the television shows Thirtysomething, My So-Called Life, and Once and Again, and also wrote and directed several episodes of all three series. He frequently collaborates with Zwick, with whom he runs the film and television production company The Bedford Falls Company. Excellent discussion of TV series writing and production.
- Studio A: Angel Sepulveda
He is a filmmaker who has a lot of experience with music videos. Good discussion of low-budget filmmaking.
- Studio A: Michael Gabel
Michael Gabel is a DC actor with lots of experience in theater, TV and feature film. He describes his experiences as a character actor who works mostly in the DC area.
- Studio A: Craig Maniglia
Craig owns a post-production company. Good discussion of his experiences in running the day-to-day operations.
- Studio A: Rob Newcomb
Rob is a producer, actor, cameraman, filmmaker and GMU alum. He discusses his life and experiences, as well as details of the production side of the business.
- Studio A: Dionne Audain
Dionne is an African-American actor in the DC area, active in theater, TV, and film. Great discussion of her experiences as a DC area actor.
- Studio A: Roshini Thinakaran
Roshini is a journalist and filmmaker, and a GMU graduate. Her documentaries focus on women in war zones.
- Studio A: Jon Gann
Jon is a film festival coordinator, the founder of the DC Film Alliance, and DC Shorts Film Festival, Gann created theGannAgency (marketing and design services) and GannFilms (video and film production) - continuously run commercial enterprises since 1989. Excellent discussion of filmmaking and the film festival in DC.
- Studio A: Eric Espejo & Tanner Cooley
Eric is a film writer/director who is also VP of 19th & Wilson, Inc. a production company in northern Virginia.
- Studio A: Jeffrey Cooper
Jeffrey Cooper is the founder and president of Cut Entertainment Group, an international media sales and film distribution agency. Excellent discussion of the film distribution (sales) agency business (who connect film producers to theatrical distribution company).
- Studio A: Eduardo Sanchez
The co-writer, co-director, producer of The Blair Witch Project talks about his career and ground breaking films. Made for $20K, Blair Witch eventually made $240M. After Blair Witch, Eduardo Sanchez frequently partnered with Jamie Nash (also interviewed by GMU). Excellent discussion of the film business by a Maryland filmmaker.
- Studio A: Mark Peterson
Co-writer of At the Top of the Pyramid (2011)
- Studio A: Aaron Peters
Aaron is a TV writer. Excellent discussion of TV comedy. He has the opinion that breaking into comedy now is easier than before. He suggests if you can make a funny low-budget webseries, which enables you to build a large audience, you will get noticed. Nothing like that was possible years ago.
- Studio A: Mimi Machado-Luces
Mimi is Producer, Writer, Director and president of TVA productions. Excellent discussion of TV production, director and writer, primarily of non-fiction and documentaries programs.
- Studio A: Tim Gordon
Tim Gordon is a DC area film critic and WAFCA chairman. Excellent discussion of films and film criticism.
- Studio A: Catherine Wyler
Film producer (and daughter of William Wyler). Fascinating discussion of life as daughter of a Hollywood legend and as a film producer.
- Studio A: Joseph G. Hall
John is a local area director and producer of short films.
- Studio A: Diane Raver
Diane Raver was the first woman in New York City to own a film production company. Raver is a well-known film producer and the festival director for The Garden State Film Festival. She recently won the 2011 Alice Guy Blache Award. Excellent discussion of the life of a producer, even of commercials.
- Studio A: Dennis Boni
Dennis Boni is an award winning cinematographer working on such projects as the PBS series Journey to Planet Earth. A Steadicam operator for more than 20 years, Boni was one of the few cinematographers handpicked to be trained by Garret Brown, inventor of the Steadicam. Excellent discussion of the life of a DP focusing in the documentary/non-fiction world.
- Studio A: Michael Pack
Michael Pack is a Writer, Producer, and Director for such documentary films as Rediscovering George Washington and Rediscovering Alexander
Hamilton. Pack is President of Manifold Productions, Inc., an independent film and television production company, founded in 1977. From 2003-2006, he served as Senior Vice President for Television Programming at the Corporation for Public Broadcasting.
- Studio A: Kevin McCarthy
Kevin "BDK" McCarthy is a film critic in the Washington D.C. metro area. He began his movie reviewing career on "The Junkies Morning Show", heard on 106.7 WJFK-FM. He also hosts his own movie show on WJFK. In the summer of 2007, Kevin was hired as the movie reviewer for the Fox affiliate in Washington D.C.
- Studio A: Kathleen Jones
Kathleen Jones has served as Unit Coordinator for Special Units, Field Producer and Associate producer for various programs at National Geographic TV. She is also writer and co-founder of Doc&aDrink, a blog for those hooked on documentaries.
- Studio A: Christian D'Andrea
Christian D’Andrea is credited with co-developing a widely used energy bar for soldiers and civilians alike called SoldierFuel, an idea he came up with while working on HALO: Freefall Warriors, a documentary he created and executive produced for Discovery Communication, LLC networks. D’Andrea is currently producing Searching for God in Iraq, a six-part documentary series examining the presence of religion and the role of chaplains in the U.S. war in Iraq. Please visit storyfoundry.org for more information on upcoming projects.
- Studio A: Ron Maxwell
As an actor, writer, producer, and director, Ron F. Maxwell has a wealth of filmmaking experience. His titles include Little Darlings, Gettysburg, Gods and Generals, and Emmy award- winning Verna: USO Girl. For more information, visit: ronmaxwell.com.
- Studio A: Aviva Kempner
Aviva Kempner is a long time filmmaker whose works have covered a broad range of issues, both domestic and international. The Life and Times of Hank Greenberg is one of her most noted works. She served as the documentary’s writer, director, and producer. Kempner is also the founder of the Washington Jewish Film Festival and the Ciesla Foundation that is dedicated to producing and distributing films to educate the public on social issues of the past and present.
- Studio A: Ted Leonsis
Ted is a very successful and wealthy businessman who has funded some films,
in particular the documentary film Nanking.
- Studio A: Robert Henninger
Robert L. Henninger is President & CEO of the Arlington, Virginia based Henninger Media Services, Inc. Following a stint as a freelance editor, he founded what was then known as Henninger Video in 1983. In the last twenty-five years, Henninger Media Services, Inc. has grown to become one of the foremost full-service production facilities in the Washington Metropolitan area, having won multiple awards. Please visit henninger.com for more information.
- Studio A: Craig MacGowan
Craig MacGowan is a producer and director with over 35 years of experience in film, television, digital video and audio technology. MacGowan’s most recent documentary, The Face: Jesus in Art, won an Emmy for Outstanding Achievement in Single Camera Photography. He has also lent his talents to the PBS special The Body of Christ in the Art of Europe and New Spain 1150-1800. Please visit: voyagerproductions.com for information.
- Studio A: Barry Sisson
Barry R. Sisson is a businessman turned filmmaker and President of Virginia based independent Cavalier Films. His aim is to merge his business principles with independent film production. His first film project, The Station Agent, went on to win the coveted Audience award at the Sundance Film Festival and was picked up by Miramax Films. Sisson’s second film is Familiar Strangers.
- Studio A: Richard Squires
Richard Squires is an up and coming filmmaker whose recent credits include writer/director of Crazy Like a Fox, a story of a Virginia farmer’s struggles with betrayal and how he chooses to deal with it. The film's stars include Emmy award-winning actor Roger Rees and Academy award nominee Mary McDonnell.
- Studio A: Caren Cross
Caren Cross is a writer/director of documentary films. She wrote and directed the documentary Lost and Found in Mexico.
- Studio A: Holly and Paul Fine
Holly and Paul Fine are a husband and wife team of documentary producer/directors. With over 38 years of experience in the industry, their works have garnered ten National Emmy and 75 Local Emmy awards, as well as three Peabody awards. The couple has had a long association with the CBS news program 60 Minutes and has also produced a number of other television specials including In the Killing Fields of America. After leaving CBS, the Fines signed on with ABC to produce specials for hit series: 20/20, Turning Point, and Primetime Live.
- Studio A: Rita McClenny
Rita D. McClenny is a steadfast advocate of the entertainment industry operating in Virginia. She is the Vice President of Industry Relations
and Film for the Virginia Film office.
- Studio A: Sarah Stein
Sarah Stein has established her career as an editor and director of documentary films and television. She lent her talents to both Academy
and Emmy award-winning projects such as The Bolero, Princeton: A Search for Answers, and Chimps: So Like Us, among other critically acclaimed projects.
- Studio A: Cuong LeNguyen
Cuong LeNguyen was a Producer/Director for Arlington Public School in Virginia for which he co-produced and edited the series, Claro! English for Parents, a program geared toward parents for whom English is a second language. He was also the Senior Motion Graphics Designer at Home Front Communications in Washington, DC where he created commercials, PSAs and high-end videos for a wide range of commercial, non-profit, and government organizations. Cuong currently is an independent producer and motion graphics designer developing video content for clients that include Animal Planet, the Bill & Melinda Gates Foundation and the Robert Wood Johnson Foundation
- Studio A: Mark Stoeckinger
Mark Stoeckinger is the sound editor for such films as The Italian Job, Last Samurai, Mission Impossible, and Star Trek.
- Studio A: Michael Kang
Michael Kang is a NY-based writer and director, best known for his films, The Motel and Knots aka Four Wedding Planners.
- Studio A: Michael Walter
Michael Walter is a broadcast journalist turned filmmaker. His documentary film, "Breaking News, Breaking Down" reveals for the first time, how traumatic news events affects those who report them. "Breaking News, Breaking Down" won the 2010 Cannes Best Short Documentary Award.
- Studio A: Patricia Hess
Patricia Doherty Hess has film crew credits for a number of films with her most recent being production manager for Philomena, Night at the Museum:
Battle of the Smithsonian, Eagle Eye, Get Smart; as well as award winning TV mini-series Angels in America.
- Studio A: Ann Hornaday
Ann Hornaday is a Washington Post film critic.
- Studio A: John Kelly
John Kelly has worked as a freelance Production and Office Assistant for such shows as Law and Order, Gossip Girl, and A Legal Mind. Having
only been in the field of film and television since graduation from New York University in 2007, John’s views on the industry and how to
break into the field, offers students a glimpse of what they will face upon their own graduation.
- Studio A: Andrew Simpson
A look into the career of music composer and silent film accompanist, Andrew Simpson.
2013-06-07
Docs In Progress panel on "Creative Approaches to Historical Documentaries"
Location: DiP office at 8700 1st Ave Silver Spring, MD
Cost: $20
Erica Ginsberg, co-founder, executive director of Docs in Progress, did the moderation. DiP is now 9 years old. DiP offers training classes for making docs, fiscal sponsorship, networking opportunities, etc.
Panelists were all DiP alumni:
- Gilliam Willman
Director, Producer, Writer Editor of "The New Woman: Annie 'Londonderry' Kopchovsky" (28 min)
www.spokeswomanproductions.com
- Jason Osder
Director, Producer of "Let the Fire Burn" (95 min)
jasonosder.com/blog/film
- Donald Plata
Director, Producer of "Forgotten Soldiers" (87 min)
www.ww2scouts.com/
- Errol Morris "Tabloid" (2010) for interesting use of media footage
- Bart Layton "The Imposter" (2012) for creative methods in documentary filmmaking
- Bill Nichols, "Introduction to Documentary"
(A doc is a representation or relaity, not a reproduction of reality.)
- Robert J. Flaherty, "Nanook of the North" (1922)
rogerebert.com reviews
wikipedia page
for a doc containing staged sequences
There was a screening of a short clip from each of their films, a general discussion of their filmmaking process, then the floor was opened to questions. There was about an hour of very interesting discussion but I only took notes on the following.
Q: How did you determine rights and how did it factor into your budget?
A:
Osder: Pat Aufderheide laid groundwork for documentary filmmakers to make use of footage in a documentary film. The issue is that an insurance policy is needed for a distribution deal. Now, thanks to Pat Aufderheide. insurance companies will assume a "fair use" defense
will be made in case of a lawsuit. This lowers the price of their insurance premiums, compared to maybe 10 years ago.
Willman: Rights also depend on the type of distribution: web distribution, DVD only distribution, broadcast distribution, and so on, are all different. Of course, anything in the public domain does not require obtaining rights. Also, rights regarding images and facts about a person depend on whether that person is a public figure or not.
Plata: I used volunteers for the WWII battle re-enactments. They are all members of a clubs which do battles using period uniforms and actual weapons (firing blanks). Lou Diamond Phillips volunteered his VO.
Overall, I learned a lot, the films looked great from what part I saw (I plan on buying them all), and it was an excellent panel discussion!
2013-03-23
Notes on AFF film funding panel discussion
Friday, March 22, Noon – 1:30 pm
Maryland Hall for the Creative Arts, Room 205
The Topics every filmmaker wants to know! Our influential panel will discuss distribution methods and creative ways to fund your film project.
Moderator: Mimi Edmunds – Documentary Journalist, Producer for 60 Minutes/CBS News; Professor of Journalism, Emerson College
Panelists:
Jack Gerbes – Director, Maryland Film Office
Wendy Cohen – Senior Director Film Campaigns, Participant Media
Lyda Kuth – Filmmaker, founding board member and current Executive Director of the LEF Foundation, a major funder of documentary films
Steve L. Burns – Producer, Rollercoaster Road, Former Executive, Discovery and National Geographic Channels
There was also a panalist Wayne Rogers, who is an energy executive involved now in film production.

Any suggestions of what is needed for funding a film?
* Must have a good film! There were disagreements. (And a comment: don't listen to how a critic describes your film.) A good idea, as described in a paragraph, for a film is important at some stages.
* Need a product that people can buy (script or at least story idea, film to be distributed, etc)
* Be organized
* In TV: Discovery/National Geographic about 5 years ago received about 800 pitches per month.
- to be successful you need the right idea matching a current network need
- we look for experience
- we worry a lot about "scheduling issues"
In the non-fiction TV world - pitches are now via agents (eg, for
National Geographic)
* Film Foundation perspective:
- where in the food chain is the filmmaker?
- LEF (California, New England only) gives 3 stage grants
5K for preproduction, 15K for production,
25K for post-production
- look for a well-told story and a good narrative
(several repeated that a good story based on real events is very popular)
- Participant Media has a pretty open submission process for doc films
Where does the money come from?
This depends. What is the filmmakers' objective?
* Is it art? (You just want to enter film festivals)
* Is it money? (You want to distribute to theaters)
* Do you have a script? Do you have a treatement?
Several repeated: You must be organized.
* Get a script or well-written treatment
* Make up a budget
* Try to lineup crew and talent (actors, shooters, etc)
The Maryland Film office has about 7.5 million dollars of incentives for Maryland-based films
* marylandfilm.org
* mdrpg.com (Md film production guide)
* We at the Md Film office want to help you make your film (in Md)
Other resources:
* Ford Foundation (for docs with social message)
* Docs in Progress (in Silver Spring Md)
* AFI Silver Doc Film Festival in June
* Maureen Ryan's book "Producer to Producer" and producertoproducer.com
Is Kickstarter a good idea?
Yes.
Kickstarter-like sites will crop up for films
slated is a new site for raising money for films
Kickstarter exceeded NEA support for filmmakers
* need a great trailer for Kickstarter campaign, which costs money
* there is great talent out there, talented people want to use their talents to create and will show up early in the morning for a shoot, you just have to look for them
2012-07-25
Ira Glass on writing
Ira Glass on writing - advice distilled from a four-part video (part 1, part 2, part 3, part 4). There are two building blocks to a story
- The anecdote. This is literally a sequence of actions.
- The revelation. The actions should raise questions, at least implicitly, which you reveal the answer to.
You can have a great series of events, but if they don't turn out to mean anything, yor story is uninteresting. Conversely you can have a significant revelation filled with meaning, but if the events themselves are uninteresting, again you've got a weak story.
You have to set aside just as much time looking for stories as you do producing them. In other words, the work of thinking up a good idea to write about is as much work and time as writing it up.
Not enough gets said about the importance of "abandoning crap." Most of your story ideas are going to be crap. That's okay because the only way you can surface great ideas is by going through a lot of crappy ones. The only reason you want to be doing this is to make something memorable and special.
The thing I'd like to say to you with all my heart is that most everybody I know who does interesting creative work went through a phase of years where with their good taste, they could tell what they were doing wasn't as good as they wanted it to be ... it didn't have that special thing they wanted it to have ... Everybody goes through that phase ... and the most important thing you can do is do a lot of work.Here is a nice "typographic" version of Ira Glass's talk:
Ira Glass is Host and Executive Producer of http://www.thisamericanlife.org/
















