"Scum of the Earth"- Interview w/ the Filmmaker

Scum of the Earth is an independent film in the works by faculty at Daytona State College. This interview is with Gary Monroe, professional photographer and faculty member of the Southeast Center for Photographic Studies; he had the original idea for the movie. I've actually had this article done for quite a while, but am just now putting it up. It was sort of sitting in queue as I decided where to submit it to. Let's just say... I got lazy. Anyway, it is a pretty controversial title and topic. So feel free to comment.

SCUM OF THE EARTH: Movie-in-production about sex offenders Interview with Gary Monroe by Morgan McDole
Photos_ Gary Monroe

“But it is true. By extension, the people telling us their stories are both writing and rewriting the biographies. Some are more convincing than others. But I think it’s normal if not, to a degree, an unconscious act to emphasize certain facts over others, or to massage them into an acceptable, even convincing, narrative. We are willing accomplices.” ~ Gary Monroe

Morgan McDole: I think recording the lives of convicted sex offenders is quite an intriguing and risqué topic. Who or what inspired this project?

Gary Monroe: I came across the trailer park where these people reside serendipitously, while researching something very different. It’s a topic that’s consistent with my photographic interests.

Do you have a title for it yet?
GM: Scum of the Earth. I was a bit taken aback by it at first, so we surveyed
offenders, management, the counselor and others; they all thought it to be a
terrific choice. “That’s what we are considered,” was the offenders’ consensus.

Who is involved and what are your roles?
GM: I quickly realized the narrative imperative and thought that film would be the way to go. So I took the idea to Phyllis Redman, who has a background in social work. I sensed that she’d be the right person to direct this film. Eric Breitenbach signed on as cameraman. I wanted to do still photography and have these images integrated into the film. The three of us are co-producing the film, and later we brought Benji Clyde onboard because of his editing skill.

Have all of you worked on films before? Is this film or digital video?
GM: Of our production team, I’m the sole non-filmmaker. Though I did a “short” many years ago… We are recording the piece digitally.

Photography and video go hand and hand. Have you had any students who have worked in the film industry post college?
GM: Yes, we have, and some with great success. Larry Cumbo comes first to mind. He became chief producer for National Geographic Films and later began his own production company.

Describe the “set” of this current project.
GM: Almost all of the filming takes place at The Palace, the mobile park home where these sex offenders live. The place was reconfigured to provide a transitory residence for just-released sex offenders. Their options, due largely to the 1,000 foot rule, are very limited. Also, they may get counseling there.

Explain the difference between a sexual offender and a sexual predator? Which are you dealing with mostly?
GM: There are several criteria that distinguish a predator from an offender, including habitual behavior and recidivism among other considerations. We are dealing mostly with sex offenders.

What are you all trying to capture or show?
GM: We are concerned with countering the mindless demonizing of these people; the problem is that the acts vary in their severity and we, society, haven’t met the challenges of punishment and rehabilitation wisely. The public, I doubt, knows much about what we/ they are dealing with when it comes to these types of terrible behaviors and insidious crimes. As it is said there, society views all sex offenders as baby rapists. It’s much more complex than that. And that popular attitude doesn’t do a thing to help alleviate the causes of the problem.

Do most cities have a campground set aside for sexual offenders? Do we have one in Daytona Beach?
GM: Do you mean under bridges?

How did you get permission to be in this campsite, and how do you go about getting people to let you record their personal lives?
GM: It’s not a campsite but a trailer park where the mobile homes are permanently stationed. We met with the management. Told them we are professors from Daytona State College, and we shared our track records with them. They welcomed us. Although at first it seemed that it would be difficult to get people to be recorded, it turned out to be just the opposite. People want to tell their stories. Our trick is not to quite distinguish fact from fiction, not to handle what we are told as necessarily either. Confabulation is at play here. Ours is to make filmic sense out of this ball of wax.

A mentor of mine told me years ago that all writing is story telling. I thought I’d find a hole in that broad statement. But it is true. By extension, the people telling us their stories are both writing and rewriting the biographies. Some are more convincing than others. But I think it’s normal if not, to a degree, an unconscious act to emphasis certain facts over others, or to massage them into an acceptable, even convincing, narrative. We are willing accomplices. Our job is to give the offenders a voice and the piece a veracity that involves the viewers and compels each one to come to his or her own conclusions, on their own terms.

How do the residents/ talent react to the camera?
GM: Surprisingly well. That’s in part due to the synergy and synchinization of the four of us. We work well together, contributing to a comfortable environment. We are genuinely intersted, and don’t come to this judgmentally. Eric handles the camera deftly; Phyllis is confident with sound (given her background); I, as always, am at ease with my Leica in hand. Benji’s putting the pieces together in his head, preparing to edit with Phyllis.

Does it make a difference if say you or Phyllis is doing the shooting? Just wondering if people are more or less reserved opening up to a male or female.
GM: I don’t think so. We are doing the B roll, anyway.

Have you noticed any similarities in these residents: mannerisms, demeanor, and look in their eye…?
GM: Nothing that insidious. The place is an odd environment by its very nature. There’s strangeness there, for sure… I think it’s because of the old trailer park, the fact that two to as many as six people live in each trailer, one after the next. They are castaway beings in a twilight zone that’s set in the middle of seemingly nowhere. But more so because these people are monitored and restricted. They walk a very straight and narrow line or risk being violated (imprisoned) at the drop of a dime.

More than anything else it struck me that each person seems to be cast from central casting. I don’t know if this is a sort of projection on my part or if there’s something to it. But even their characteristics and voices are somehow perfect, slightly larger than life, and yet tragic.

Do any of them have similar life stories, traumas, etc?
GM: Yes, most were abused themselves, when youngsters. And most offended close to home, within their families. This alone casts another light on the problem. Environmental and biological factors are at play here, as are stupid errors in judgment.

Have any of your subjects had more on their criminal record other than a sexual offense?
GM: Yes, but nothing, as far as I know, that’s especially egregis. But they aren’t “subjects,” and they certainly aren’t mine. They are vehicles, if you will, characters through whom we are telling a tangled story. The subject is sex offense and society. The subject is each viewer.

Do you ever feel threatened? Do you carry a weapon?
GM: I don’t feel at all threatened there. Remember, these folks are on short leashes. I don’t carry a weapon and never have. I’ve long relied on my wits and, perhaps, naiveté. Or may I say amazement at what I’m photographing?

Okay, what has been the best part about working on this project? Worst part?
GM: The best part, as always, is the quality of discovery, the amazement and surprises… There hasn’t been a “worst.” We, the filmmakers, are friends and get along well and are creating something we believe in, something of interest and significance. We are privileged to be doing what we love doing.

When can we expect the film?
GM: Around April 2009. We’ve done more shooting than originally expected because of the people’s wanting to be part of the production and our increasing awareness of the complexity of the story.

Do you have plans for this film showing, film festivals, etc?
GM: This is now getting our attention.

Filmmakers Contact
Eric Breitenbac- breitred.com
Benji Clyde
Gary Monroe- garymonroe.net

Phyllis Redman- breitred.com

Thank you to those listed above for the additional time you took out of your busy work schedules to talk about the film in production. Good luck!~ Morgan