Nancy Spielberg and Tal Inbar Discuss Their Film CLOSED CIRCUIT

Automatically transcribed; may contain errors.

safe to say I think I'm in the presence of royalty over here not just with of course the legend but also tar embar on closed circuit how are you two doing today good very excited very excited so knowing that this deals with some pretty what's it say haunting things that happened were there certain things within the documentary that you had to Omit due to maybe graphic imagery to add graphic imagery I know it's a way to like exclude it yeah definitely yes some things are were too gory that I felt it takes out the attention of the story of what we're trying to give to the audience to feel and to exposed to so we had to blur it a little bit or maybe cut out some things that we felt it's I don't know if it's the right way to use like pornographically they call it that yeah because we were really trying not to use uh the harsh images as much as we can because it is Harsh so now speaking of which what was about the subject and especially if an anti as a producer as a director and producer what was the major two say I have to tell the story and as soon as I possibly can I'm going to do this thing that's a really nice question because this is how I am seduce Nancy to join so maybe Nancy has a like if you remember okay yes I do um tal sent me an email out of the blue she didn't I didn't know her she didn't know me and and I do get a lot of emails up here it's a project I'm working on and would you look at it would you consider it and something about what she wrote about that particular event and it happened to be that I was in Israel on that very night but I was in a restaurant in Jerusalem and this happened in Tel Aviv and I almost felt like I was in this parallel universe and it was the closest I ever would want to experience a terror attack and then she had made a student film and she shared some of the clips with me and I I said let's talk so because I had been there and it was the day after my birthday and in the film there's a guy celebrating the day after his birthday I just felt so many parallels and it spoke to me also because in this country there's so much more terror I mean today is the anniversary a year ago was collivo Texas where Rabbi Charlie where the terrorists came in so it's not something that's just Israel and it's also very human personal story talking about the trauma that everybody experienced I feel it's it's parallel to a lot of us and it's really hard to ignore so it's like grabs you it definitely seems very gripping now speaking of which tall films change a lot not just from pre-production production but especially from shooting to editing can you talk about how much the film changed from those two aspects because I can imagine with a documentary lots of things change so talk about the editing process especially the editing process is a major part in filmmaking especially in documentary um so it's kind of like a co-directing my editor my wonderful editor Sharon she is um she made magic also with giving me the space to think and to contemplate about what we're trying to do and to try new things and she's very Innovative and very skilled so if you have the chance to to collaborate with her one day I I really she's wonderful yeah speaking of which things unfortunately tend to go wrong especially when I'm set filming or even editing was there a particular shot they wanted to get so bad but unfortunately due to maybe a time constraint or do that in process that you just couldn't afford to get that shot in there um so it's mostly because it's security uh camera footage it's where I couldn't put my hands on the their archives from the inside in the Serena Market there is inside and outside uh but then it led to collaborate with the wonderful Animation Studio who did also well suit Bashir um with David polonski and mitsan and rohinitan and they were amazing and they helped us from like the limits to grow and to make something very Innovative very moving uh like Cinema so it's this is different when you know like storytelling can change a lot I think that's one of the issues with documentary filmmaking is we need these creative tools because you do have those gaping holes where you do not have actual footage or the interviews and you want to stay true to the story because you feel obligated to keep the authenticity and so you know I think that the skills of filmmakers these days has really really it grown with the animation with being able to keep people involved in the story but and filling those gaps so we our team was good at that now speaking of which since your name is attached to arguably if not the greatest filmmaker today is there at any time like with any project really that you feel your brother's Shadow constantly cast over you or you feel confident as a producer to say no I don't need my brother's name I do this you know it's funny the very first film that I made was above and beyond and it was the story of some 1948 American World War II Pilots that after they flew and fought you know for the good old United States of America they went and smuggled airplanes to Israel and helped Israel in their war of independence and um my brother actually said to me hey I've got this and you do you want I've got this great composer and I was like I'm good and he was like what so every time he was really sweet he was so proud of me so it was so important for me to be independent because you know it is a very big Shadow and you have to Grapple with it in lots of ways in your life and you can never let it Define who you are you can love it but it doesn't can't Define your life you have to find your own footing so it's I'm learning you know I'm old enough now I'm figuring it out I think I'm figuring it out you've definitely figured out it seems she is in every layer of the filmmaking like in the production even after just like being there for support and reading the subtitles to fix everything oh my God I I corrected grammar on the subtitles I swear super producer that I've ever dreamed I got a little crazy because you know they were doing subtitles they were you know doing it in Israel and I was like guys you know there's this saying when in doubt leave it out if there's a comma because they're like so I got a little crazy with just you know making sure that it uh really looked professional but it actually was very professional before I got my hands on it so I'm not going to take credit like without Nancy really there was no no film and I was just speaking of which the moment they heard nanja say yeah I got you back and I'll help you produce this what's the reaction like that because I can imagine mine must have been blown out of your eye sockets anxiety attack but I'm so nice you know the pandemia I was back to living with my parents talking to Nancy Spielberg in the like Zoom I was blown away by the situation you know we're all very down this feelies are really down to earth people you know people imagine that there is this this giant image but we're all very Hamish we're very down to earth we are interested in the craft we're interested in storytelling we're interested in collaboration and I think that's what makes good filmmakers and that's probably one of the big lessons I learned from my brother is you surround yourself by good people and then you listen to them you don't always have to listen to them but you listen to them because you know there's there's a lot of good in that collaboration I would say filmmaking is always collaborative I just want to say due to congratulations on everything I graduated since your brother on the Fable men's and tall I came for everybody's is it seems like it's going to be a haunting but also very powerful document congratulations guys thank you thank you so much thank you more than anything else and that's it I love TV oh I mean slick