Grass Roots Tactics For ‘Ground Truth’

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Squeaking and grinding, the wheel has begun to turn. The traditional Hollywood production path for profit and success is being turned and manipulated in ways that are at once feared and counted on. The Ground Truth is the first foray into writing and directing for Patricia Foulkrod , primarily known for producing more mainstream films like Crazy Like A Fox (2004). The Hollywood Reporter reports that “Truth” will be shown in limited theatrical release, possibly as little as six US cities then will follow up with a nationwide series of screenings in homes, churches, hospitals, libraries and other community centers on October 11, the four-year anniversary of the authorization to use military force in Iraq. This concept of nearly “guerilla distribution” is new, but not unheard of. In early 2006 Steven Soderbergh utilized the concept for his reality appearing Bubble (2006). Focus Features CEO James Schamus said one of the main goals of the brief theatrical run is to drive home video sales. Organizations will be offered bulk rates on the Universal-distributed DVD, and Focus will continue promoting the film after its theatrical release has ended.

The path chosen by Focus Features to promote and distribute their film is setting the stage for the questioning of the motives of both the films producers and the industry as a whole. The incredibly short theater-to-home-video window causes wariness in theater owners who are already feeling the economic pinch of a country with less and less disposable income. Is the industry looking to mainstream the “straight-to-video” concept, allowing for higher profits and lower expense than having to maintain thousands of celluloid copies of their works? Traditionally the concept of a film going rapidly from production to the shelf of your local video venue has indicated poor quality or an extremely limited audience base. While the latter may fit for the art house and documentary genre audience, it does not necessarily equate with the impact or quality of the film. The danger in pursuing the straight to video path is that while studios may reap larger profits in the long run by limiting distribution costs, audiences will likely begin to become more apathetic toward the concept of entertainment escapism. When the ability to move out of your own world into that of the director and screenwriter becomes blurred by the portrait of Aunt Sally hanging on the wall, will America still relish the release that comes with blockbuster entertainment? The problem is furthered when the audience maintains comfort while being led down paths that should lead to reaction. When “Truth” was screened at this years Sundance Festival, audience members were simultaneously moved and riveted by the harsh reality of war plastered before them in exquisite detail. Following a formula most recently utilized by activist groups to bring community involvement, “Truth” stands poised to possibly be labeled strictly a political move, utilizing hot button issues and an election year to move audience members to participate in a pre-defined way. Michael Moore will be so proud.