Local 706 - The Artisan

Fall 2015

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Some of the more unusual aspects of the film were some of the elements that truly added to its "realism." Most of the film was shot chronologically, which really worked well for the break- down of Agu. The physical and emotional demands placed on this young man were very intense for anyone, regardless of their previous acting experience. Most of the young boys who made up Agu's Small Boy Unit (SBU) were cast from the streets of Accra, Koforidua and Kumasi. Many of the background soldiers had previous military experience. Some had actually been boy soldiers themselves in neighboring countries that had history of civil war. All cast had to go through an intense week of boot camp training. They occupied the production's camp set to give it that lived-in realness before it was burnt to the ground on camera. The technical advisor had been an actual "Commandant" who had trained boy soldiers and understood the ceremonial rites as well as the psychological hardening of these boys. I am grateful to have had this life-changing opportunity that brought me to the other side of the world. Kris Kobzina and I got to contribute to a film that eloquently presents a subject matter that most Americans either don't know about or choose to turn a blind eye to. Our quality of life here in the USA is something that I, personally, no longer take for granted. I communicate almost daily with a background soldier who is a Liberian refugee living in Ghana. This consistent reminder of the realities outside our own is a gift in addition to his friendship. As far as our craft is concerned, this is not a project that reinvented the wheel or utilized some mind-blowing new technology. I believe, as I did when I decided to take on this job, that this is one of the new models for filmmaking. We have the chance to be a tool, even a voice for a story that must be told. • Above: A surprise visitor. Right: A pop-up tent.

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