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Providing yet more evidence why you should avoid documentaries with far more than a 35-millimeter pole, the producer of Iraq in Fragments today released a gag-inducing "open letter" to the Academy of Motion Picture Arts and Sciences calling on them to apologize because someone made a joke he didn't like.
The offender? Jerry Seinfeld who, to quote the aggrieved documentarian "poked fun" at documentaries in his introduction of the five nominees for Best Doc., and employed a "comically sour face." We just watched Seinfeld's intro, [youtube, with spanish translation overdub]. 95% of which is an unfunny monologue about how you shouldn't have to pick up after yourself in theaters. Seinfeld then comments that the five nominees for best documentary were "incredibly depressing" (which, actually, they are). Still--this comment is too much for John Sinno, of Seattle-based Typecast Films, who calls Seinfeld's remarks "deeply insulting."
But don't think John can't take a joke. As he writes, "While I appreciate the role of humor in our lives, Jerry Seinfeld's remarks were made at the expense of thousands of documentary filmmakers and the entire documentary genre."
"Appreciate the role of humor in our lives?" Yeah, you sound like a real laugh riot.
He goes on to complain about new rules requiring documentaries to actually be seen by more than 12 people to get consideration for next year's Oscars.
And then, just when you think the letter can't get more arrogant, Sinno complains that he didn't win:
On a final note, I would like to point out that there was no mention of the Iraq War during the Oscar telecast, though it was on the minds of many in the theatre and of millions of viewers. It is wonderful to see the Academy support the protection of the environment. Unfortunately there is more than just one inconvenient truth in this world.
Yes, yes, your documentary subject was the most important documentary subject, all other documentary subjects must bow before yours.
The haughtiness of this letter pretty well encapsulates why we stay away from documentaries. All too frequently, humor and joy are verboten because the subject is too IMPORTANT to permit frivolity. And the way Sinno characterizes the Academy's pick of Inconvenient Truth, as a vote to "support the protection of the environment," shows you what he thinks documentaries are for--political activism.
The best documentary of the year was Spike Lee's When the Levees Broke. It would've won the Oscar in a landslide had it been eligible--it wasn't, because it aired on TV. Lee's movie was largely apolitical--it documented the anger of New Orleans residents toward politicians, but toward politicians of both parties. It also documented laughter. To imagine a documentary about Hurricane Katrina by Michael Moore or this Sinna fellow is to imagine a shrill, polemicist propaganda piece, where the victims would be mouthpieces for the filmmakers own political prejudices. Thank God Spike Lee got there first.
Anyway, the full text of the letter is after the jump, you can judge for yourself.
I had the great fortune of attending the 79th Academy Awards following my nomination as producer for a film in the Best Documentary Feature category. At the Awards ceremony, most categories featured an introduction that glorified the filmmakers' craft and the role it plays for the film audience and industry. But when comedian Jerry Seinfeld introduced the award for Best Documentary Feature, he began by referring to a documentary that features himself as a subject, then proceeded to poke fun at it by saying it won no awards and made no money. He then revealed his love of documentaries, as they have a very "real" quality, while making a comically sour face. This less-than-flattering beginning was followed by a lengthy digression that had nothing whatsoever to do with documentary films. The clincher, however, came when he wrapped up his introduction by calling all five nominated films "incredibly depressing!"
While I appreciate the role of humor in our lives, Jerry Seinfeld's remarks were made at the expense of thousands of documentary filmmakers and the entire documentary genre. Obviously we make films not for awards or money, although we are glad if we are fortunate enough to receive them. The important thing is to tell stories, whether of people who have been damaged by war, of humankind's reckless attitude toward nature and the environment, or even of the lives and habits of penguins. With his lengthy, dismissive and digressive introduction, Jerry Seinfeld had no time left for any individual description of the five nominated films. And by labeling the documentaries "incredibly depressing," he indirectly told millions of viewers not to bother seeing them because they're nothing but downers. He wasted a wonderful opportunity to excite viewers about the nominated films and about the documentary genre in general.
To have a presenter introduce a category with such disrespect for the nominees and their work is counter to the principles the Academy was founded upon. To be nominated for an Academy Award is one of the highest honors our peers can give us, and to have the films dismissed in such an offhand fashion was deeply insulting. The Academy owes all documentary filmmakers an apology.
Seinfeld's introduction arrived on the heels of an announcement by the Academy that the number of cities where documentary films must screen to qualify for an Academy Award is being increased by 75%. This will make it much more difficult for independent filmmakers' work to qualify for the Best Documentary Feature Award, while giving an advantage to films distributed by large studios. Fewer controversial films will qualify for Academy consideration, and my film Iraq in Fragments would have been disqualified this year. This announcement came as a great disappointment to me and to other documentary filmmakers. I hope the Academy will reconsider its decision.
On a final note, I would like to point out that there was no mention of the Iraq War during the Oscar telecast, though it was on the minds of many in the theatre and of millions of viewers. It is wonderful to see the Academy support the protection of the environment. Unfortunately there is more than just one inconvenient truth in this world. Having mention of the Iraq War avoided altogether was a painful reminder for many of us that our country is living in a state of denial. As filmmakers, it is the greatest professional crime we can commit not to speak out with the truth. We owe it to the public.
I hope what I have said is taken to heart. It comes from my concern for the cinematic art and its crucial role in the times we're living in.
John Sinno
Academy Award Nominee, Iraq In Fragments
Co-Founder, Northwest Documentary Association
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Documentaries are an important form, he's right about that. And he may be right on every point (what di I know?), but his tone and the humorless approach of this letter undermine any truth he had to tell. He needs a blog or something. And some humility.
For my part, I thought Seinfeld's introduction was pretty funny. But, like David said, what do I know? Anyway, even if Seinfeld wasn't at the top of his form, his comments hardly took anything away from documentary film. It's good to have a sense of humor. So I think you're on your own with this one, John.
-- James Longley
Director, Producer, Co-Editor, Composer, Cinematographer of "Iraq in Fragments"
James fucking Longley! Hey, "Iraq in Fragments" is fan-freaking-tastic. One of the best things I dragged myself out to last year. And that's "things I dragged myself to" in general, not just films.
Hey Sean, did you get this from Slog? 'Cause somebody's accusing me of stealing from you, and that ain't right.
The best documentary of the year has obviously never been correctly decided by the Academy. I'm certainly glad, however, that the Academy requires eligible docs to have theatrical runs, because that encourages filmmakers risk a little and seek theatrical runs instead of resigning themselves to 54-minute docs for PBS. (This wasn't a problem for Spike Lee, obviously, but that's because he's Spike Lee.)
Whatever his difficulty in modulating his tone, Sinno has a point w/r/t the increase in required screens -- that serves no purpose whatsoever.