Barbara Kopple | |
|---|---|
 Kopple at the May 2015Montclair Film Festival | |
| Born | (1946-07-30)July 30, 1946 (age 78) New York City, US |
| Occupation | Film director |
Barbara Kopple (born July 30, 1946) is an Americanfilm director known primarily for herdocumentary work. She is credited with pioneering a renaissance ofcinema vérité, and bringing the historic French style to a modern American audience. She has won twoAcademy Awards, forHarlan County, USA (1977), about aKentucky miners'strike,[1] and forAmerican Dream (1991), the story of the1985–86 Hormel strike inAustin, Minnesota,[2] making her the first woman to win two Oscars in the Best Documentary category.[3]
Kopple gained acclaim for the filmBearing Witness (2005), a documentary about five women journalists stationed in combat zones during the Iraq War. She is also known for directing the documentary filmsWild Man Blues (1997),A Conversation With Gregory Peck (1999),My Generation (2000),Running from Crazy (2013),Miss Sharon Jones! (2015), andDesert One (2019).
She received aPrimetime Emmy Award forFallen Champ: The Untold Story of Mike Tyson (1993), and directed episodes of television drama series such as theNBC police drama seriesHomicide: Life on the Street (1999) and theHBO prison drama seriesOz (1999), winning aDirectors Guild of America award for the former.[4]
Kopple received a Lifetime Achievement Award from the National Academy of Television Arts and Sciences on September 28, 2023.[5]
Kopple was born in New York City,[6] and grew up on a vegetable farm inScarsdale, New York, the daughter of a textile executive.[7]
Her uncle,[8]Murray Burnett,[9] was a co-author ofEverybody Comes to Rick's, an unproduced play, that was the basis for the film,Casablanca. Her mother and maternal grandparents grew up inPeekskill, New York, the latter of whom publicly criticized the attempted censorship of singer Paul Robeson in 1949.[3]
AtNortheastern University, she studied political science[10] and clinical psychology, and for aclinical psychology course, she made her first film,[10] "Winter Soldiers,"[11][10] aboutVietnam veterans, instead of writing a term paper.[12] While working among lobotomy patients at Medfield State Hospital with Northeastern University, she decided she wanted to be a filmmaker instead.[13]
"I realized when I was studying psychology that nobody would probably ever read what I wrote"
— Barbara Kopple[13]
Kopple's political involvement started in college with her participation inantiwar protests against the Vietnam War.[14]
Kopple attended theSchool of Visual Arts, where she met documentary filmmakersAlbert and David Maysles through a classmate.[12]
"I really wanted to learn about documentaries, so I went to SVA (School of Visual Arts). I took this class in cinéma vérité. There was a woman in the class who said: "I work for these people, the Maysles brothers. They're just finishing a film and they could use some help. Would you like to come?" So I said, "Yes, are you kidding?" And I never went back into that class again. "
— Barbara Kopple[15]
She assisted them on their documentarySalesman, and then did camera work for their film on the Rolling Stones, titledGimme Shelter.[14] Reflecting on her time working with the Maysles, Kopple said "the wonderful thing about working for Alan and David Maysles was that they were the first company that treated women as equals...everybody attended all the meetings; everybody's opinion was important."[15]
She subsequently worked as an editor, camera operator, and sound operator on numerous documentaries and then started production onHarlan County, USA in 1972. She also created a production company in 1972, Cabin Creek Films, through which she would continue to direct and produce features and television projects, in addition to documentaries. Notable intern alums from her production company, Cabin Creek Films, include Jesse Moss, Kristi Jacobson, and Jan Ackerman.[16]
Kopple first became aware of the plights of the Appalachia miners while studying at Northeastern University.[7] In 1972, Kopple started her own production company, Cabin Creek Films. It was during this time that miners walked off the job in Harlan County,[7] and Kopple began the filming Miners for Democracy movement led by Arnold Miller. When Tony Boyle was ousted from the union leadership and miners began striking for union recognition, Kopple moved to Harlan with a crew of five[7] and a loan of $12,000.[17] Kopple and her crew lived with the miners, filming even when they ran out of film because the presence of a camera "kept down violence."[7]
"In 1973, I went with Barbara Kopple to Harlan County, Kentucky as associate director and assistant camerawoman of Harlan County, U.S.A. That experience radically changed my approach to filmmaking. I had been working on the film syncing dailies and reviewing material. Then a call came from the United Mineworkers that they needed someone to film in Harlan County or there would be a killing. Barbara, Kevin Keating, Richard Warner (our local liaison who had owned a sock store inKnoxville, Tennessee), and I flew to Knoxville, loaded into a station wagon with all the 16 mm gear, and drove across 2 lane roads to the picket line. We arrived at 5 am. On one side of the road there were about 30 state troopers looking mean. On the other side, there were an equal number of tough-looking women with clubs. Within an hour, we were filming violent arrests and women being dragged...."
— Anne Lewis[18]
"The scene I love the best of me being in Harlan County was when [mine foreman] Basil Collins stopped his truck and said, "Come over here, honey." After I did, he said, "Who do you work for?" And I said, "United Press." He said, "Let me see your press card." And I yelled for Anne Lewis[19] to go in my purse and get my press card. I actually did have one. He had guns in the car, and I asked him questions like, "Who are you and how do you feel about these people picketing up here?" I said, "And what's your position?" And he said, "Mine foreman." And I said, "Do you have any identification?" He said, "Well, I may have lost mine." And so he said, "Well, where is your press card?" I said, "Well, I may have misplaced mine." Then he zoomed off. The people who were on the picket line said: "Easy. He's the chief gun thug. He's the one who could take your life at any point." But I wasn't afraid...."
— Barbara Kopple[20]
Harlan County, USA took four years to make and cost over $200,000.[12] Continuing production was financially demanding on Kopple and her small crew, who regularly moved back-and-forth between Harlan and New York to collect financial backing from grant proposals and odd jobs, even writing letters for money from miners' homes.[12] When she ran out of money, Kopple would "come back to New York and take whatever job I could, editing, sound, until I got enough to go back."[14] Kopple also accepted donated money from her parents, friends and others in order to continue financing the project; she eventually placed herself into great debt for the film, utilizing her personal credit card for many expenses.[17]
Kopple was threatened by mine owners during filming, being told that "if I was ever caught alone at night I'd be killed."[17] She reportedly carried two pistols while filming in Harlan.[14]
Harlan County, USA debuted at the New York Film Festival in October 1976, where it received a standing ovation. The film won the Academy Award for Best Documentary Feature, Kopple accepting the award "on behalf of the miners of Harlan County who took us into their homes, trusted us, and shared their love with us."[15]
AfterHarlan County, USA, Kopple didn't finish another documentary until 1990. Kopple instead took her political focus on unions to television, directing the 90-minute television dramaKeeping On.[21]
American Dream, Kopple's next feature-length documentary captured the1985–86 Hormel strike, a two-year-long workers strike against Hormel Foods. Kopple was first turned onto the subject matter in the early 1980s while working on starting a different documentary project. While driving in Worthington, Minn., Kopple heard a new radio broadcast on developing strikes amongst workers in meatpacking plants of Austin. Kopple reportedly started driving towards Austin immediately; "that was the beginning," said Kopple, "And I never left."[22]
American Dream proved to be even more difficult for Kopple to produce thanHarlan County, USA, despite her previous documentary's success.[23] Budget for the film was tight,[22] and Kopple found it difficult to obtain funding due to its subject matter.[23] It took five years for Kopple to obtain financing for the film, and mentions her personal belief that her previous Oscar win hindered funding support.[24]
UnlikeHarlan County, which had Kopple very much on one side of the battle, Kopple intentionally aimed to be much more objective in depicting the differing perspectives of the Hormel Strike inAmerican Dream. "I cared about the people in Austin, Minn., very much," Kopple reflected, "but if we were ever to look back at [the film], we had to have the full story."[22]
American Dream premiered at the New York Film Festival on October 6, 1990. It eventually earned Kopple her second Academy Award the following year. Kopple continued to exclusively make documentaries for nearly the next decade and a half, exploring new subject matters such as crime procedurals and the lives of celebrities.
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Directed and produced in tandem, Barbara Kopple and Cecilia Peck debutedShut Up and Sing in 2006. The film follows musicians the Dixie Chicks as they face backlash for comments against the Bush administration and the invasion of Iraq. She was on tour with theDixie Chicks when lead singerNatalie Maines criticized the Iraq War. The film,Shut Up and Sing, debuted at theToronto International Film Festival. It went on to win a Special Jury Prize at theChicago International Film Festival, and two Audience awards (Sydney Film Festival andAspen Film Fest).[25]
Kopple's style is evident in use of candid clips of the performers discussing the fallout combined with a focus on what their daily lives look like. While the musicians maintain grace whilst getting death threats for their remarks publicly, Kopple and Peck show the burden it places upon them at home. It is truly mimetic of a "fly on the wall," a trademark of Kopple's filmmaking. Critical reception of the film was mixed at the time. The left-leaning outlets praised the documentary and the Dixie Chicks for their bravery. Right-wing media continued to criticize the group and to criticize Kopple and Peck for their decision to cover such "traitors."[citation needed][26]
In years since the premiere, many news outlets (such as The Guardian and The New York Times) have come back to the documentary, writing about why it is such a landmark film for its political nature.[citation needed]
Her first non-documentary feature film to play in theaters,Havoc, starredAnne Hathaway andBijou Phillips as wealthy suburbanites who venture intoEast Los Angeles Latino gang territory, and was released straight to DVD in 2005. Kopple has recently ventured into advertising work that includes documentary-style commercials forTarget Stores.
She was among the 19 filmmakers who worked together anonymously (under the rubricWinterfilm Collective) to produce the filmWinter Soldier, an anti-war documentary about theWinter Soldier Investigation. She has also done films for The Working Group, directing the 30-minute short documentaryLocked Out in America: Voices From Ravenswood for theWe Do the Work series. (We Do the Work aired in the mid-1990s on thePBS television series "P.O.V.", and Kopple's segment was based on the bookRavenswood: The Steelworkers' Victory and the Revival of American Labor.)
In 2012 Kopple released two films. One is aboutMariel Hemingway, the granddaughter ofErnest Hemingway, and the other is concerning the 150th Anniversary ofThe Nation magazine. The film on Hemingway,Running from Crazy, was shown at the 2013Sundance Film Festival and on theOprah Winfrey Network.
When beginning to make the filmHarlan County, USA, Kopple was promised a $9,000 grant, then later was denied. This happened countless times before she eventually secured the necessary funds. The moving image collection of Barbara Kopple is held at the Academy Film Archive, which preservedHarlan County, USA.[27]
Kopple is a documentary filmmaker and has validated her art form in response to criticism that documentaries seem past their prime: "people want to get a sense of truthfulness in terms of what's happening and what's going on. Documentaries do that."
She has noted her major influence to be director Lucy Jarvis, for her both her approach to life and prolificness. Kopple's documentaries are in the style ofcinema vérité. Reflecting on her documentaries in 1991, Kopple said "the kind of films that influenced me have more to do with watching people, letting scenes come alive so you actually see people change through the course of the film...almost like you're right there."[15] Her work typically consist of observational footage, minimal voice-overs and intimate interviews with her subjects. She is quoted saying "I really love people, and I love telling their stories and I feel so excited when I get to do so" and "I try so hard to let the characters be the ones that carry the story and say the things they want to say." Thus she is humanist in her approach to storytelling. She has listed the Maysle brothers andD. A. Pennebaker as notable influences on her technique.[28] "I absolutely lovedDon't Look Back because he got so close to Dylan," Kopple said of Pennebacker. "I wanted to make films that were as intimate as that."[15]
Kopple's work is often politically driven. She has made several films on U.S. labor issues, as well as worker's unions, and has been a longtime advocate for the American labor movement.[29] Many of her documentaries revolve around political subject matters, but her more recent work has taken a shift towards music documentary and celebrity portraiture.[30]
For her documentaries, Kopple works in small crews of two to five, almost always acting as her own sound operator.[23]
Kopple embraces a collaborative approach to filmmaking, particularly in the editing process. The collaborative models of working originates from her internship with the Maysles Brothers inGimme Shelter (1970) and later joining the film collective that would produceWinter Soldier (1972). While editingHarlan County, USA, Kopple sought multiple editors for the nine-month post-production process. She used the same process when editingShut Up & Sing, stating, "We were working with so many different editors and different sensibilities but the discussions we had were sensational, because you couldn't say no. You had to explain how it moved the story forward or what it gave the characters so it was very egalitarian in the editing room."[24]
Past financial struggles influenced Kopple's embrace of commercial projects, her recent partnership was withYouTube's production ofThis is Everything: Gigi Gorgeous. She has partnered with studios such asABC,NBC,Lifetime Television,Disney Channel andThe Weinstein Company. Kopple responds to criticism surrounding lack of authenticity in commissioned films citing the conventions of cinéma vérité and direct cinema that she followed in her first films. She relies on a neutral outlook when approaching the subject matter of her films, some of whom were controversial figures such asWoody Allen andMike Tyson.[24]
She upholds the strength of women filmmakers citing Rory Kennedy, Mirra Bank, Liz Garbus, and Kristi Jacobson as both colleagues and inspirations. She notes also that there is a benefit to being a woman filmmaker in that "it's easier because people are not intimidated by you." She utilizes the underestimation of women as a positive bridge to understanding her subjects. When asked about the domination of men in the film industry she explains that, for better or for worse, this does not impact her; there are few men in her field as there is little money in documentary filmmaking.
Kopple actively participates in organizations that address social issues and support independent filmmaking.
Kopple describes herself as a "filmmaker and mom." She is a niece of the American playwrightMurray Burnett.[16]
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| Year | Association | Category | Nominated work | Result | Ref. |
|---|---|---|---|---|---|
| 1977 | Academy Award | Best Documentary Film | Harlan County, USA | Won | [31] |
| 1991 | American Dream | Won | [32] | ||
| 1993 | Primetime Emmy Awards | Outstanding Individual Achievement – Informational Programming | Fallen Champ: The Untold Story of Mike Tyson | Won | |
| 1995 | Outstanding Informational Series | A Century of Woman | Nominated | ||
| 2014 | Outstanding Documentary or Nonfiction | Running from Crazy | Nominated | ||
| 2010 | News & Documentary Emmy Awards | Outstanding Arts & Culture Documentary | Woodstock: Now & Then | Nominated | |
| 2017 | Outstanding Arts & Culture Documentary | Miss Sharon Jones! | Nominated | ||
| 2019 | Outstanding Research | Re:Mastered: Tricky Dick and the Man in Black | Nominated | ||
| 1992 | Directors Guild of America Award | Outstanding Directorial Achievement in Documentaries | American Dream | Won | |
| 1994 | Fallen Champ: The Untold Story of Mike Tyson | Won | |||
| 1998 | Outstanding Directorial Achievement in Dramatic Series | Homicide: Life on the Street | Won | ||
| 1991 | Sundance Film Festival | Grand Jury Prize | American Dream | Won | |
| Filmmakers Trophy | Won | ||||
| Audience Award | Won | ||||
| 1998 | Grand Jury Prize | Wild Man Blues | Nominated |
Miscellaneous awards
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