Today we hear from Brian Lilla, director of Patagonia Rising, a film following the attempts to build five separate hydroelectric dams in the vast and thriving wilderness of Patagonia, Chile – and the effects these man made dams will have on the terrain. In the heart of Patagonia flow two of the world’s purest rivers, the Baker and Pascua. These free-flowing watersheds drive biodiversity and are the life source for Patagonia’s most tenacious residents, Gauchos, the iconic South American cowboys. The Patagonia region is now threatened by a plan to build the five large hydroelectric dams on these two rivers. Tracing the hydro-logic cycle of the Baker River from ice to ocean, Patagonia Rising brings voice to the frontier people caught in the crossfire of future energy demands. Juxtaposing the pro-dam business sector with renewable energy experts, Patagonia Rising brings awareness and solutions to this global conflict over water and power.
Q: How did you hear about the Newport Beach Film Festival?
My girlfriend is from Newport Beach and I thought it would be great if Patagonia Rising screened in a festival that her family could go to. I was blown away when I looked into past programs as NBFF. It's a huge honor to be included in the festival.
Q: Tell a little about the story of your film and the production of it.
It's an investigative story on the impacts of damming Patagonia, Chile. For seven years Chile has been in deliberation on whether to build five massive dams and run the power 1,600 miles north. Fifteen years ago, I was there on a personal trip. I had almost gotten killed in a climbing accident in Argentina and decided to go recoup in Patagonia. The remote landscape and frontier people had a huge impact on me. If the dams get approved all hell is going to break loose. Directing Patagonia Rising was the perfect reason to go back and give back.
Raising funds during the height of the recession was like banging our heads against a brick wall. Once we raised enough funds to get two of us to Chile for six weeks of shooting and hire a Chilean field producer, our producer, Greg Miller, and I went for it. Three of us in a 16-foot raft spent 10 days floating the Rio Baker. Some of the ranches along the river take four days to get to by horse or boat. Every time we arrived at a ranch, a sheep would get slaughtered for the next three meals. It was a complete time warp. Some families had no electricity. The only way we could recharge camera batteries and down load media was if a ranch had a solar panel. Besides limited power, we were at the complete mercy of shooting in one of the rainiest places on the planet. The camera should have died several times due to water damage.
After the river section we tagged along on an expedition that was doing climate change research on the Northern Patagonia Ice-cap. In three days we hiked all our gear 35 miles to reach the ice. I had to sleep with the camera batteries so they wouldn't loose power due to the cold. Of all the challenges, one of the greatest was trying to get an interview with the company proposing the dams. Four hours before our flight out of Chile, we were granted an interview with the general manger of the dam project.
By the end of our trip, we had shot 40 out of 42 days. The entire pre-miss of making the
documentary was to inform the debate and impact the decision to build or not build the dams. We just found out Patagonia Rising is going to screen in Chile on May 15, 2011. Its perfect timing as the Chilean government is going to be making a decision with in the next six months.
Q: Tell a little about yourself and your story in filmmaking.
I started off filmmaking 12 years ago by making super-8 shorts about the things I was into; skating, surfing and climbing. I quickly realized filmmaking was a passport into peoples lives and sought unfamiliar stories that brought me to situations I normally wouldn't be in. I love the filmmaking process of transporting the audience into these situations.
Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)
The people in Patagonia were so genuine in front of the camera. Most had never seen a large format camera or even a laptop. At night we would drink wine and show them playback of what we had shot earlier in the day. They were completely transfixed watching themselves. As much as they are gentle and kind, they are also tough. For most people living in remote Patagonia, time is spent splitting wood, fetching water, herding animals, growing food, building fences, and drinking matte. Look closely and you
will see how strong they are in their faces. Look closer and you will start to notice almost everyone is missing some body part; a finger, eye, toe, teethe, part of an ear.
When we went into post-production, we tried to work with as many Chilean's as possible. Our Chilean narrator, Carla Wilkins, has an amazing voice. She has that soothing quality of someone reading a storybook. The final Chilean performance was our composer Axel Herrera. His compositions accurately portray the vastness and tranquility of Patagonia. The sound-score was the final breathe that brought the documentary to life.
Q: What do you do when not making a smash indie film?
If I'm not working on a film, I try to surf, cook, and garden as much as possible. There's a fine balance between making films and creating a healthy life. I finally feel as though I found it.
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PATAGONIA RISING screens Sunday, May 1 at 5:30 PM in the Triangle Square Theater 1.
To purchase tickets visit:
http://newportbeach.slated.com/2011/films/patagoniarising_brianlilla_newportbeach2011
Watch the trailer for the film here:
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