Director's Cut

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I've got no way Of knowing... >> Welcome to Director's Cut. I'm your guest host, Doug Gordon. That was a clip from the independent documentary Street Pulse. The film chronicles the lives of members of the homeless community in Madison. Joining us today is the director of Street Pulse, Marc Kornblatt. Thank you so much for joining us today, Marc. >> Thanks for having me. >> Congratulations on the film. It's a very powerful and very dramatic film. What inspired you to make a film about Madison's homeless community? >> Well, I'd been a teacher in school district for ten years, plus, and already knew about the issues of homelessness from the children who pass in and out of our school on the south side of Madison. The homeless on the street are the most obvious. But the ones that you don't see, the ones who sleep on different people's couches and in their parent's cars is a much larger problem. So I was off for the summer, and my wife said, you know, you should be reading "Street Pulse." I know about the paper. I picked it up again. I read about Robert and Angel. And I read about this guy Lonnie Evans who had been selling, he had been selling for five years. Robert and Angel had only been selling for less than a year, but they had met on the street. Robert had been in prison for 26 years. Angel had been homeless and she was in her 20s. They met, and they fell in love, and they got married. This was in the newspaper "Street Pulse." I was taken with that story. I went to an organizational meeting for vendors and I met them. I started talking to them. They were so open. They were so reasonable that I thought, this is going to be a ten-minute film about this couple. They took me to where they lived, under a bridge at the time, which is the beginning of the film. They were so sincere and genuine that I got pulled into their world. Then I started going to different meetings that they would go to, like the Bethel Lutheran Church, a support group. I felt like this was a bigger film than just ten minutes. >> Right. >> It's more than just the love story of Robert and Angel. >> It went from being a ten-minute film centering on Robert and Angel into a 68-minute documentary. Do you have any idea, Marc, how many people are homeless in Madison? >> Depending upon who I talk to, the people who are served by the shelters can run from 200 to 500, with overflow and all. But in terms of people who are, as I was describing before, are in the thousands. I actually read numbers up to, someone told me 8,000. I read a document from the county, it could've been 3,000 or 4,000. But we're talking in the thousands. It's much more than just the people than you see on the streets. >> What was it, you touched on it, but what exactly was it about Robert and Angel that resonated with you so much? >> First of all, they're just interesting filmically to listen to and look at. The contrast in their faces, or their life experiences, that on its surface, you know, just looking at it cinematically and filmically. Two, I like the sound of their voices. There's an honesty to when they talk. Yes, Robert has a checkered past, and who knows what you pick up when you're in prison, but there's some honest, you know, openness that lent itself. Before I had a camera there, they were just telling me anything and everything I would ask. >> Well, let's get a look at the chemistry between Robert and Angel. Here's a clip from Street Pulse. >> I had heard about it and seen other people get into it, but I wasn't even thinking about it even though I needed money and stuff like this. But my wife, she was in it, and that got me going. She was the one that was trying to train me on my first day. She was telling me, well, you've got to ask them if they want to buy a "Street Pulse." I was standing over there and I couldn't even get people to look at me. So I started playing around with words and changed it to donate for "Street Pulse," and she couldn't keep up with me. That's what I've been doing ever since. Donate to "Street Pulse"? >> Working for "Street Pulse," it's pretty much you're basically on your own. You're not really around a whole lot of people. You don't really have people telling you what to do or how to do it. They leave it up to you on how you're going sell. Depending on how you sell depends on your pay. Donate to "Street Pulse"? Donate to "Street Pulse"? Have a nice day. >> That's a great clip. You really get a strong idea of the chemistry between Robert and Angel. And despite the age difference, there's a lot of love and affection between the two. When I first watched the film, and you first introduced Robert and Angel in the film, I was thinking they were father and daughter. Were you surprised to learn that they were married, when you first met them? >> Well, because I had read about them, I wasn't. But when you look at them, yes, they look like father and daughter. There are a number of people who said about, you know, when you show the film, is there going to be issues like, you know, child and adult kind of thing? I didn't think of it that way, because their relationship seemed pretty solid. But yes, on the face, with her high voice, and light figure, and his look, yes, definitely. But that actually was another thing that pulls you in. >> Definitely. That's something I'm curious about, Marc, was that something intentional on your part, that you delayed letting us know that they were husband and wife? >> That's just my storytelling. You know, there are some filmmakers that might have a whole intro, and they might have a narrator. I like it coming out. I came to film as a playwright and an author. So for me, I would rather just let the story unfold. It's not that long. It's called Street Pulse, which is based on the name of the paper, but I spent time on the street, and it really gives you a pulse of the street. So the pulse on the street, it doesn't always present itself. You don't always find out someone's name even when you're on the street. I might find out, like I did with the musician, the first guy who opens up the music, by being passed from one person to the other. I go to someone and say, do you know someone who plays guitar, he says, yeah, there's this one guy, and then I get passed on. So I may not even get the guy's name, or the name of a song until we've already hung out on the street for a while. >> Very well said. That, I suppose, is why the film, as we were talking about earlier, the film was originally just going to be a ten-minute film focusing on Robert and Angel. But then it expanded into this 68-minute documentary. That was just through meeting these other people and learning their stories, and backstories, and find out, gee, I really want to include these people in the film? >> You know, if I was a full-time filmmaker, or I was working for a news organization, that would've been different. I only had a certain amount of time, and I knew I was going back into the classroom. So, if I had hit a lot of roadblocks, as I did as you and I know, with some of the government agencies, I might have been turned off to the story. But when I spoke to Lonnie, the first time I met him outside of Bethel Lutheran Church, he didn't know me from Adam. You know, we were both getting off our bikes. I was going to go to the meeting. And he just opened up to me. I actually thought he might be my first one. I think I met him before I met them, because I went to Bethel Lutheran Church Support Services that the church provides for homeless people, and then I went to organizational meetings. I met him going to an organizational meeting at Bethel. So there are so many different places where I could have met them. He was just open, too, and excited. You know, when someone wants to tell you their story and you don't have to pull teeth, especially when you have a camera around, that's a big deal. >> Oh, yeah, and Lonnie and Angel and Robert are all just such naturals on the camera. >> They are. >> They're wonderful >> For your audience, there are films that are made, and I made a short film earlier this year, where I may have staged things and asked people to do things. I basically told Robert and Angel we were showing up in the morning. She even refers to that in the film. Oh, it wasn't too easy getting

up at 6

00 in the morning. Well, because I said we're going to be there with our camera and crew, just set up, and that's it. Just do your thing. We didn't do two takes. We didn't do six takes. It was, get up, and we'll just follow how you get out of bed in the morning. >> It worked very well. Let's take a look at another clip of Robert and Angel. They'll join us in just a moment, but first we're going to look at another clip from Street Pulse. In this clip, we learn about Robert and Angel's backstories. Here's another clip from Street Pulse. >> After I was born in Missouri, I moved to Illinois. I don't remember much about the move there, because I was real little yet. >> I was born in Lisbon, Wisconsin. I was raised in Mauston, spent most of my life there on a farm. >> I was actually born three months pre-mature. I was born one pound, 14 ounces. >> I was a loner. Most of the time I was out there playing with the animals. You know, running around the fields. >> I was considered a slow learner. It was rough growin' up, bein' a year behind like that. >> Because of the movin' around I was held back three grades. When I turned 16 I'd just started eighth grade again. I got fed up with it. I walked out. I quit. >> My grades weren't that great. They were Cs, Ds and Fs most of 'em. When I got to Wisconsin I had more help from the teachers than what I did in Missouri. >> Two weeks before we finished the GED, we moved to Ohio. That's where I got into the drugs heavier. >> My grades went from Cs, Ds and Fs all the way up to As, Bs and an occasional C. >> From there I jumped all the way to North Dakota. I was up there in the oil patch a little bit, then in '84 drugs, alcohol, stupidity and mental problems put me in Montana State Prison. >> I had graduated high school at the age of 19. I should have graduated at 18, but like I said, was being held back a year, it put me a year behind. I had gotten into alcohol problems at the age of 21, and I went into detox four times. After that, my momma kicked me out, and that's when I became homeless. >> Joining me now are Robert and Angel Huffar, who we just saw in that clip. Robert and Angel, thank you so much for joining us. >> Thank you. >> My pleasure. >> What did you think when Marc asked you if he could film your life on the street for Street Pulse? >> I didn't know what to think for myself. >> I thought it was just going to be interesting, just to find out how everything would work. >> Yeah, and it definitely is interesting. Why did you agree to appear in the film? Was that because it just seemed like something interesting? >> For me, it was breaking the fear of being in front of a large crowd and on camera, because I really don't like being on camera, at that time. So that actually broke that fear. >> I find that hard to believe, because you're both such naturals on camera. I find that hard to believe that you were afraid of being on camera. It didn't come across that way at all. Was there a learning curve for you, Angel, to get comfortable on camera? >> Yeah. >> How about you, Robert, did you have a fear of being on camera and having your life documented that way? >> Well, the fear for me is what I live with every day. I have been in prison, and I am institutionalized, so my fear is of the streets, free world. But when I came out of prison, I came out with the idea of trying to help the people out here, so they don't end up where I was. >> This was, you kind of saw this as a way to raise awareness, and almost to offer a cautionary tale? >> Yeah. >> About don't do what I've done. Because you spent almost half of your life in prison, correct? >> Yeah. >> I'm curious to know what you've been up to these days. Have you found a place to live? >> Yep. >> That's good. >> On the north side of Madison, in an efficiency apartment. >> That's great, that's wonderful. That must be just such a relief. >> That was a big step. >> Yeah, a huge step, because at one point in the film, when you found that room to live in the basement, during that scene, Angel, you say that moving from one place to the next is not home, and that the basement room you were staying in is not a home. Does it feel like you've found a home now? >> Oh, yeah. Definitely. I don't have people telling me, you know, what rules there are, and how I have to live in their house. I can pretty much live the way I want to in my house. >> That's wonderful, yeah, you have much more control. >> Much more freedom. >> Robert, same for you? >> Yeah, even though under the bridge was nice. It had its good point, you know, to animals out there and the birds. Flight school. That's when all the swallows would come out and start learning how to fly, and they were all over the place. But we are making our own decisions. We're working on paying our own bills. I haven't been able to find a good job yet, except for "Street Pulse." >> Okay, you anticipated my next question, Robert, because near the end of the film, you are working. But right now? >> Those were, I had two limited-term positions, one with DWB and the other one with Disability Rights of Wisconsin. That was only six months for the first and three months for the last. So, since August of last year, I haven't had work. >> So back to selling "Street Pulse," but at least you have a home now. >> Yeah. >> And Angel, you're studying to be a paralegal? >> I was at that time. At this point, I'm in a different school altogether from what was in the film. I'm in a different career field. >> But you're making progress? >> Making progress. >> You're making a lot of progress. That's wonderful. That's fantastic. Thank you so much, Robert and Angel, for joining us. In a moment, we'll be joined by another person featured in Street Pulse, Lonnie Evans. But first, we're going to look at a clip featuring Lonnie. Let's roll that clip. But your love Don't pay my bills I need some money Yep, yep What I want I need some money Yep, yep >> Here in Madison it's, like, hard to find work for a man with my education. So I started working with "Street Pulse." I've been with "Street Pulse" goin' on six years now. "Street Pulse" today, Ma'am? Have a great day. I'm with a program, the Age Advantage program. You have to be 55 or older. And I work at the Goodman Community Center. I started off there at Goodman as a custodian. I did custodian for two years, and then I got positioned up to work in the kitchen. I'm an artist. I like to draw cars. I don't know -- classic car books. I like muscle cars, classic car books. I draw. I have drawn at work. I want to sell my art. I'm living in a shelter. I stay at 116 West Washington, which is Grace church. I've been there off and on from '04 to today, one or two for the amount of years. I'm a drinker, and I have feeling for myself. I don't see my kids like I would like. I'm stressed out most of the time. I know myself I have a problem. I've been through treatment before. I know what it takes to quit, but I haven't really put my finger on quitting. But today I'm puttin' my finger on quitting. >> That's another clip from Street Pulse. We're joined now by the man featured in that clip, Lonnie Evans, as well as Nathaniel Don Abrams, Jr., who also appears in the film. Gentlemen, thank you so much for joining us. >>

Both

Thank you. >> Lonnie, what did you think when Marc first approached you about appearing in the film? >> I was surprised. You know, but happy at the same time. >> So, it wasn't a difficult decision for you to make, to agree to appear in it? Did you kind of have to go back and forth, about well, should I do this or not? >> No, because once he told me that it really came from my story, I was ready to go for it. >> And you're just great in the film. It's great to see you doing your art. You have a lovely singing voice. How do you feel when you see yourself in the film? >> The truth of the matter, when I seen that film, I was happy, but then I've seen the old Lonnie. It felt good, but then it didn't feel good. >> Okay, and near the end of the film, you're off the street and you're living with Nathaniel Don Abrams, Jr. But at the end of the film, there's a caption that tells us that you're no longer living with Nathaniel and that you're back on the street. Are you living on the street now? >> No, I'm not living on the street. After I left Nathaniel, I went back to the house I was from, original. It comes from, my movement came from my drinking. So my drinking led Nathaniel to ask me to leave. And I stayed out there for about a month, I believe. I ended up in detox, and I just haven't taken a drink in eight months. >> Eight months, wow, that's wonderful. Congratulations. >> Thanks. >> That's great. At one point in the film, Nathaniel says that if you just take your strong work ethic. Well, since you're here, Nathaniel, tell me what you said about Lonnie, how he could stop drinking. >> Apply his work ethic. He has a strong one. I first met Lonnie, even though he would drink, he was very conscientious about his job and working. And trying to focus that work ethic, the same work ethic, into staying sober. >> Direct it toward sobriety, I believe is how you put it, that he could make a real breakthrough. It seems that he's been sober for eight months now, do you think he's made a real breakthrough? >> This is my hero. I'm a homeless advocate. >> And you used to be on the street, yourself. >> For seven years, I was homeless. I'm a homeless advocate, sobriety advocate, HIV advocate. In this humanitarian field that I chose, there are very few success stories, you know. I'm able to make a living with this. But a lot of my pay is Lonnie, different people, who I've seen progress with a little help from me. That's what keeps me motivated. >> That's wonderful. Lonnie, having been sober for eight months now, is this helping you to pursue the dreams that you talked about in the film, your desire to sell your art, see your children more, get married again? >> Somewhat, yeah. But I haven't really put my hand on a tool to get back into it, because I have stopped drawing. Like I said, I've been so back and forth moving, so I really am focused in on working right now. And staying sober. >> That's great, and you're doing a great job. Thank you so much for joining us, Lonnie Evans and Nathaniel Don Abrams, Jr., thank you so much for joining us. It was great to talk to both of you. >> Thank you. >> Let's look at one more clip from Street Pulse. In this clip, Robert and Angel have to find a new place to live. Let's roll that clip. >> The first time we had an officer come up here, and he was looking at the place and talking about it looked like an encampment. >> What'd you put in here, a load of bricks? >> He didn't know who's land it was on or anything else, so nothing happened. But Thursday we got a visit from a Wisconsin State Trooper. He come down here. He gave us 'til Tuesday to get out of here. >> We did some investigating yesterday and we found-- well, I don't know if I want to call it another nice place. But it's decent enough. It feels safe anyway. It's about, how far down the tracks did we say that thing was? >> Another mile. >> About another mile down the tracks. >> It feels like we packed a load of bricks. >> Yeah. We were out lookin', Angel and I, because we knew about this wooded area over here. We didn't know what it was. We decided to walk through and found a couple of good spots, that we thought were good. It kinda just got a good feel to it. You know. So we'll build as best we can, recycling garbage and stuff like that, to insulate. And use our tarp around the outside for walls, for a roof. You know, make it as best we can, to last the winter if we've got to. >> I'm joined once more by the director of Street Pulse, Marc Kornblatt. Marc, what do you hope people get out of seeing Street Pulse? >> When I made it with, and I only made it with two other people, a cinematographer, cameraman Randy Lee and my sound person, Melanie Killingsworth. I told them that we were not activists, that we were artists. I wanted to tell a story and I wanted to tell it well. I hope people get at least that, that it's artfully told, subtly, without glamorizing, glorifying, romanticizing, without doing any of those things. That would be, as a filmmaker, and that it looks cinematic. The other part is, for the activists, I'm not sure it's going to change public policy overnight, or that it's going to win over the man and woman in the streets. It could affect younger people who see it. It also could activate future activists. That's what I really hope, that there will be more people like the people who support all these people, because I wouldn't have met Lonnie, and I wouldn't have met Nathaniel. I wouldn't have met any of these people, Robert and Angel, if it wasn't for the people at Bethel Lutheran, who have this support system for them there. I wouldn't have met them if it wasn't for the "Street Pulse" newspaper, so those are the people I hope will get to see it and will be charged by it and will be doing this kind of work for the future, because there are so many problems that it's not an overnight thing. >> No, and let's hope that happens. I think Street Pulse is a step in the right direction. Congratulations again on the film, Marc, and thank you for joining us. >> It was a pleasure. >> My pleasure. Marc Kornblatt, director of Street Pulse. Thank you for watching Director's Cut. For more information on Street Pulse, please go to wpt.org and click on Director's Cut. I'm your host, Doug Gordon. Until next time, remember, we can always fix it in post. I once was lost But now I'm found Was blind But now I see