Category Archives: documentary

Bringing the documentary Long Live Benjamin to life

The New York Times Op-Docs recently debuted Long Live Benjamin, a six-part episodic documentary directed by Jimm Lasser (Wieden & Kennedy) and Biff Butler (Rock Paper Scissors), and produced by Rock Paper Scissors Entertainment.

The film focuses on acclaimed portrait artist Allen Hirsch, who, while visiting his wife’s homeland of Venezuela, unexpectedly falls in love. The object of his affection — a deathly ill, orphaned newborn Capuchin monkey named Benjamin. After nursing Benjamin back to health and sneaking him into New York City, Hirsch finds his life, and his sense of self, forever changed by his adopted simian son.

We reached out to Lasser and Butler to learn more about this compelling project, the challenges they faced, and the unique story of how Long Live Benjamin came to life.

Long Live Benjamin

Benjamin sculpture, Long Live Benjamin

How did this project get started?
Lasser: I was living in Portland at the time. While in New York I went to visit Allen, who is my first cousin. I knew Benjamin when he was alive, and came by to pay my respects. When I entered Allen’s studio space, I saw his sculpture of Benjamin and the frozen corpse that was serving as his muse. Seeing this scene, I felt incredibly compelled to document what my cousin was going through. I had never made a film or thought of doing so, but I found myself renting a camera and staying the weekend to begin filming and asking Allen to share his story.

Butler: Jimm had shown up for a commercial edit bearing a bag of Mini DV tapes. We offered to transfer his material to a hard drive, and I guess the initial copy was never deleted from my own drive. Upon initial preview of the material, I have to say it all felt quirky and odd enough to be humorous; but when I took the liberty of watching the material at length, I witnessed an artist wrestling with his grief. I found this profound switch in takeaway so compelling that I wanted to see where a project like this might lead.

Can you describe your collaboration on the film?
Lasser: It began as a director/editor relationship, but it evolved. Because of my access to the Hirsch family, I shot the footage and lead the questioning with Allen. Biff began organizing and editing the footage. But as we began to develop the tone and feel of the storytelling, it became clear that he was as much a “director” of the story as I was.

Butler: In terms of advertising, Jimm is one of the smartest and discerning creatives I’ve had the pleasure of working with. I found myself having rather differing opinions to him, but I always learned something new and felt we came to stronger creative decisions because of such conflict. When the story of Allen and his monkey began unfolding in front of me, I was just as keen to foster this creative relationship as I was to build a movie.

Did the film change your working relationship?
Butler: As a commercial editor, it’s my job to carry a creative team’s hard work to the end of their laborious process — they conceive the idea, sell it through, get it made and trust me to glue the pieces together. I am of service to this, and it’s a privilege. When the footage I’d found on my hard drive started to take shape, and Jimm’s cousin began unloading his archive of paintings, photographs and home video on to us, it became a more involved endeavor. Years passed, as we’d get busy and leave things to gather dust for months here and there, and after a while it felt like this film was something that reflected both of our creative fingerprints.

Long Live Benjamin

Jimm Lasser, Long Live Benjamin

How did your professional experiences help or influence the project?
Lasser: Collaboration is central to the process of creating advertising. Being open to others is central to making great advertising. This process was a lot like film school. We both hadn’t ever done it, but we figured it out and found a way to work together.

Butler: Jimm and I enjoyed individual professional success during the years we spent on the project, and in hindsight I think this helped to reinforce the trust that was necessary in such a partnership.

What was the biggest technical challenge you faced?
Butler: The biggest challenge was just trying to get our schedules to line up. For a number of years we lived on opposite sides of the country, although there were three years where we both happened to live in New York at the same time. We found that the luxury of sitting was when the biggest creative strides happened. Most of the time, though, I would work on an edit, send to Jimm, and wait for him to give feedback. Then I’d be busy on something else when he’d send long detailed notes (and often new interviews to supplement the notes), and I would need to wait a while until I had the time to dig back in.

Technically speaking, the biggest issue might just be my use of Final Cut Pro 7. The film is made as a scrapbook from multiple sources, and quite simply Final Cut Pro doesn’t care much for this! Because we never really “set out” to “make a movie,” I had let the project grow somewhat unwieldy before realizing it needed to be organized as such.

Long Live Benjamin

Biff Butler, Long Live Benjamin

Can you detail your editorial workflow? What challenges did the varying media sources pose?
Butler: As I noted before, we didn’t set out to make a movie. I had about 10 tapes from Jimm and cut a short video just because I figured it’s not every day you get to edit someone’s monkey funeral. Cat videos this ain’t. Once Allen saw this, he would sporadically mail us photographs, newspaper clippings, VHS home videos, iPhone clips, anything and everything. Jimm and I were really just patching on to our initial short piece, until one day we realized we should start from scratch and make a movie.

As my preferred editing software is Final Cut Pro 7 (I’m old school, I guess), we stuck with it and just had to make sure the media was managed in a way that had all sources compressed to a common setting. It wasn’t really an issue, but needed some unraveling once we went to online conform. Due to our schedules, the process occurred in spurts. We’d make strides for a couple weeks, then leave it be for a month or so at a time. There was never a time where the project wasn’t in my backpack, however, and it proved to be my companion for over five years. If there was a day off, I would keep my blades sharp by cracking open the monkey movie and chipping away.

You shot the project as a continuous feature, and it is being shown now in episodic form. How does it feel to watch it as an episodic series?
Lasser: It works both ways, which I am very proud of. The longer form piece really lets you sink into Allen’s world. By the end of it, you feel Allen’s POV more deeply. I think not interrupting Alison Ables’ music allows the narrative to have a greater emotional connective tissue. I would bet there are more tears at the end of the longer format.

The episode form sharpened the narrative and made Allen’s story more digestible. I think that form makes it more open to a greater audience. Coming from advertising, I am used to respecting people’s attention spans, and telling stories in accessible forms.

How would you compare the documentary process to your commercial work? What surprised you?
Lasser: The executions of both are “storytelling,” but advertising has another layer of “marketing problem solving” that effects creative decisions. I was surprised how much Allen became a “client” in the process, since he was opening himself up so much. I had to keep his trust and assure him I was giving his story the dignity it deserved. It would have been easy to make his story into a joke.

Artist Allen Hirsch

Butler: It was my intention to never meet Allen until the movie was done, because I cherished that distance I had from him. In comparison to making a commercial, the key word here would be “truth.” The film is not selling anything. It’s not an advertisement for Allen, or monkeys, or art or New York. We certainly allowed our style to be influenced by Allen’s way of speaking, to sink deep into his mindset and point of view. Admittedly, I am very often bored by documentary features; there tends to be a good 20 minutes that is only there so it can be called “feature length” but totally disregards the attention span of the audience. On the flip side, there is an enjoyable challenge in commercial making where you are tasked to take the audience on a journey in only 60 seconds, and sometimes 30 or 15. I was surprised by how much I enjoyed being in control of what our audience felt and how they felt it.

What do you hope people will take away from the film?
Lasser: To me this is a portrait of an artist. His relationship with Benjamin is really an ingredient to his own artistic process. Too often we focus on the end product of an artist, but I was fascinated in the headspace that leads a creative person to create.

Butler: What I found most relatable in Allen’s journey was how much life seemed to happen “to” him. He did not set out to be the eccentric man with a monkey on his shoulders; it was through a deep connection with an animal that he found comfort and purpose. I hope people sympathize with Allen in this way.


To watch Long Live Benjamin, click here.

ACE Eddie nominees include Arrival, Manchester by the Sea, Better Call Saul

The American Cinema Editors (ACE) have named the nominees for the 67th ACE Eddie Award, which recognize editing in 10 categories of film, television and documentaries.

Winners will be announced during ACE’s annual awards ceremony on January 27 at the Beverly Hilton Hotel. In addition to the regular editing awards, J.J. Abrams will receive the ACE Golden Eddie Filmmaker of the Year award.

Check out the nominees:

BEST EDITED FEATURE FILM (DRAMATIC)
Arrival
Joe Walker, ACE

Hacksaw Ridge
John Gilbert, ACE

Hell or High Water
Jake Roberts

Manchester by the Sea
Jennifer Lame
 
Moonlight
Nat Sanders, Joi McMillon

BEST EDITED FEATURE FILM (COMEDY)
Deadpool
Julian Clarke, ACE

Hail, Caesar!
Roderick Jaynes

The Jungle Book
Mark Livolsi, ACE

La La Land
Tom Cross, ACE

The Lobster
Yorgos Mavropsaridis

BEST EDITED ANIMATED FEATURE FILM
Kubo and the Two Strings
Christopher Murrie, ACE

Moana
Jeff Draheim, ACE

Zootopia
Fabienne Rawley and Jeremy Milton

BEST EDITED DOCUMENTARY (FEATURE)

13th
Spencer Averick

Amanda Knox
Matthew Hamachek

The Beatles: Eight Days a Week — The Touring Years
Paul Crowder

OJ: Made in America
Bret Granato, Maya Mumma and Ben Sozanski

Weiner
Eli B. Despres

BEST EDITED DOCUMENTARY (TELEVISION)
The Choice 2016
Steve Audette, ACE

Everything Is Copy
Bob Eisenhardt, ACE

We Will Rise: Michelle Obama’s Mission to Educate Girls Around the World
Oliver Lief

BEST EDITED HALF-HOUR SERIES
Silicon Valley: “The Uptick”
Brian Merken, ACE

Veep: “Morning After”
Steven Rasch, ACE

Veep: “Mother”
Shawn Paper

BEST EDITED ONE-HOUR SERIES — COMMERCIAL
Better Call Saul: “Fifi”
Skip Macdonald, ACE

Better Call Saul: “Klick”
Skip Macdonald, ACE & Curtis Thurber

Better Call Saul: “Nailed”
Kelley Dixon, ACE and Chris McCaleb

Mr. Robot: “eps2.4m4ster-s1ave.aes”
Philip Harrison

This is Us: “Pilot”
David L. Bertman, ACE

BEST EDITED ONE-HOUR SERIES – NON-COMMERCIAL
The Crown: “Assassins”
Yan Miles, ACE

Game of Thrones: “Battle of the Bastards”
Tim Porter, ACE

Stranger Things: “Chapter One: The Vanishing of Will Byers”
Dean Zimmerman

Stranger Things: “Chapter Seven: The Bathtub”
Kevin D. Ross

Westworld: “The Original”
Stephen Semel, ACE and Marc Jozefowicz

BEST EDITED MINISERIES OR MOTION PICTURE (NON-THEATRICAL)
All the Way
Carol Littleton, ACE

The Night Of: “The Beach”
Jay Cassidy, ACE

The People V. OJ Simpson: American Crime Story: “Marcia, Marcia, Marcia”
Adam Penn, Stewart Schill, ACE and C. Chi-yoon Chung

BEST EDITED NON-SCRIPTED SERIES:
Anthony Bourdain: Parts Unknown: “Manila” 
Hunter Gross, ACE

Anthony Bourdain: Parts Unknown: Senegal
Mustafa Bhagat

Deadliest Catch: “Fire at Sea: Part 2”
Josh Earl, ACE and Alexander Rubinow, ACE

Final ballots will be mailed on January 6, and voting ends on January 17. The Blue Ribbon screenings, where judging for all television categories and the documentary categories take place, will be on January 15. Projects in the aforementioned categories are viewed and judged by committees comprised of professional editors (all ACE members). All 850-plus ACE members vote during the final balloting of the ACE Eddies, including active members, life members, affiliate members and honorary members.

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