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by Indiewire
April 15, 2013 4:18 PM
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Meet the 2013 Tribeca Filmmakers #36: Banker White Traces His Family History in 'The Genius of Marian'

Banker White
What it's about:
The Genius of Marian is an intimate portrait of my family in the wake of my mother's Alzheimer's diagnosis. The film explores the tragedy of Alzheimer's disease, the power of art and the meaning of family.

About the filmmaker:

I'm a creative hardworking guy who loves his mom.

What else do you want audiences to know?

The Genius of Marian began as a series of informal recorded conversations with my mom in the months after her Alzheimer's diagnosis in 2009. She had begun writing a memoir called "The Genius of Marian" about her own mother (my grandmother), Marian Williams Steele. Marian was a celebrated painter. She was my mentor in art and in life. In 2001, at the age of 89, Marian died of Alzheimer’s disease.

Soon after my mom started writing the memoir about Marian, she began to struggle with typing and other mental tasks. To help her continue the project, I started filming our conversations. For the next three years, I recorded both the big events and the small details of my family's changing reality.

I approached this project both as a loving son and as an observer. A patient approach to

"The Genius of Marian" Tribeca

production has helped me capture the essence of my family's story. I've shared warmth and intimacy in conversations with my mother, laid bare our family’s challenges in caring for her and allowed myself to feel all of the complicated emotions that come with loving someone who is slowly succumbing to a disease like Alzheimer's.

I grew up feeling like my mom could do it all-and often, she did. She worked full-time while raising my siblings and me, maintained deep friendships and dedicated herself to helping others, both in her personal life and in her career as a therapist. I know she would be proud that this film might be used to perpetuate that legacy.

While The Genius of Marian began as a personal project to honor and connect with my mother in the wake of her Alzheimer's diagnosis, I believe the resulting film will resonate with anyone who is reconciling complex feelings related to aging and loss. It is from this place that I know we have created something special.

What were your biggest challenges? I didn't plan on making this film; it was more my reaction to the situation our family found itself in. Deciding what to make "public" and how to present the story were the biggest challenges in making this film. Every decision was made considering how the film and filming process was affecting the family. I wanted to show my mom with dignity, but also present an honest portrait. I also wanted to balance the details of my own family’s situation with the more poetic or emotional reactions to those situations, making sure the audience had room to have their own experience of the story.

What would you like Tribeca audiences to come away with after seeing your film?

My goal is to create a film that finds light and beauty in a place often shrouded in shame and confusion. I want to help people who receive an Alzheimer's diagnosis (or any terminal disease diagnosis) see it not as a paralyzing death sentence, but instead an invitation to re-prioritize—to reach out and connect and feel and process complicated emotions. I want the film to be a conversation starter.

Did any specific films inspire you? The Fisher King. I love this fantastic, magical take on the experience of mental illness. The film is also a beautiful exploration of personal relationships and reconciling with the past.


What do you have in the works? In addition to getting The Genius of Marian out into the world, producing complimentary educational films and developing a related interactive story space called Memory Mosaic, we are working on several other film projects.

My wife/producing partner and I are working on a documentary film with a magical realism feel called "Yo" about Yolanda Shea, an older woman who is not what she appears. We are also developing a hybrid documentary called African Ninja with filmmakers from WeOwnTV (www.weowntv.org), a film collective in Freetown, Sierra Leone that I founded in 2009. African Ninja is a kung-fu comedy that explores national identity, Chinese investment in Africa and the environmental impact of commercial fishing through the story of a modern day African super hero.

Where did you learn how to make movies? I went to Middlebury College (BA) and California College of the Arts (MFA). I started out as a visual artist - a painter, sculptor and multimedia artist - before I started to make films professionally. But, inspired by my father and my grandmother (Marian), who were both avid family archivists, I have been behind the camera creating and filming from a very young age.

What did you edit on? Final Cut Pro 7

Indiewire invited Tribeca Film Festival directors to tell us about their films, including what inspired them, the challenges they faced and what they're doing next. We'll be publishing their responses leading up to the 2013 festival.

Keep checking HERE every day up to the launch of the festival on April 17 for the latest profiles.


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