You will be redirected back to your article in seconds
Back to IndieWire

Midterm Madness | Filmmakers Capture History in “11/4/08”

Midterm Madness | Filmmakers Capture History in "11/4/08"

This interview was originally published during indieWIRE’s coverage of SXSW 10′.

First screened at this year’s SXSW festival, Jeff Deutchman’s political documentary “11/04/08” is featured this month in SnagFilm’s Midterm Madness series. Deutchman (who was profiled by Brian Brooks earlier this year), chatted with indieWIRE about the genesis of his film, and what he has planned next on the docket.

Two weeks before the election of Barack Obama, director Jeff Deutchman asked friends around the world to record their experiences of 11/4/08, a day that had become historic before it had even taken place. In this documentary, a global canvas unfolds: in St. Louis and Austin, idealistic volunteers think they can turn their states blue. In Chicago, voter lines grow even longer when Obama shows up to cast his own vote. In Dubai, Berlin, Geneva and New Delhi, expatriates express their emotion from a distance. And in Harlem, a felon casts doubt on whether any of this will affect his life.

“11/04/08” unveils and unfolding global canvas s as we approach Obama’s victory at 11pm EST. What emerges is a portrait of how people choose to live through history: the celebration of a new future remaining entangled with the universally visible tensions of the past. [Synopsis courtesy of SnagFilms]

“11/4/08”
Director: Jeff Deutchman
Producers: Jeff Deutchman, Natalie Difford
Editor: Jeff Deutchman
Production Company: Consentual Cinema
70 minutes

Director Jeff Deutchman on his background and film “11/4/08″…

I consider myself a cinephile first and foremost. Up until now, I’ve channeled my love of movies into indie film acquisitions and distribution. If you love something, you want there to be a system in place to allow that thing to exist and the people who make them to live comfortably. Working in distribution allows me to discover great films and find ways for them to be seen. To me, filmmaking is an extension of this. If I come up with an idea for a movie that I would want to see, I’ll try to make it happen, whether that means giving it to someone else to direct or doing it myself.


In the weeks leading up to Obama’s election, I was as excited as anyone. Naturally, at times like these, you try to find a way to contribute. I donated money and volunteered, but I guess I wanted to do something that was more suited to my base of knowledge and experience. Roughly two weeks before the election, it occurred to me that people would be filming, but that there was unlikely to be any organization to the resulting footage. Regardless of what happened, I thought that it would be a day charged with an unusual amount of emotion, and that it was worth an experiment. So I just went for it. I sent a mass e-mail and facebook blast to everyone I knew and quickly amassed a team of filmmakers. There was initially some debate about how unified the approach should be. Barry Jenkins, who was originally going to shoot footage, had a fascinating idea about asking all the filmmakers to use tri-pods and to forbid camera movement. I loved the idea but ultimately thought it was impractical – many of the people I had enlisted to shoot weren’t filmmakers and many had just barely managed to borrow a camera. I ended up giving the team a broad mission: to shoot their experience of the day.

When I ultimately collected the footage, I discovered a broad array of approaches on many different formats. This presented lots of technical challenges that are not worth getting into here. Creatively, I had to submit myself completely to the footage. Any predisposition I might have had towards the film I wanted to make was thrown out the window. What I discovered in the editing process was that I was making a film with a far more ambivalent message than I initially imagined. A lot of this had to do with things going on in the world.

Deutchman on films and filmmakers that inspired him while making “11/4/08″…

Michael Apted’s “Up” series is something that I thought a lot about because I felt like I was doing something opposite. Apted limits himself spatially (focusing on several British middle class subjects) so that he can explore time. I limited myself temporally (focusing on a single day) so that I could explore space. I also found Margaret Brown’s “The Order of Myths” really inspiring from a filmmaking standpoint. And there have been a number of art and web projects that share an interest in the explosion of authorship. For instance, “Star Wars Uncut” and Alice George’s 9/11 photo project.

…and on future projects in the pipeline…

I have a friend, Lucy Teitler, who wrote an incredible script about a guy and a girl and the internet called “Strictly Platonic.” I want to help get that made. I also wrote a teen comedy called “Emo Boys” with my college roommate, Peter Duchan. It’s set during the 1996 Presidential Election. That one needs to get off the ground.

[Disclosure: SnagFilms is the parent company of indieWIRE.]

This Article is related to: Features and tagged ,