Things I Carry Into The World is a visual story based on a poem written by Cynthia Manick. Started as a Kickstarter project earlier this year, it was brought to life by New York based directors Pat Heywood and Jamil McGinnis together with the producer Claire Mc Girr and DOP Frances Chen. Creators describe the video as “a motion poem exploring the personalities, burdens and dreams of four teenagers in New York City through their own artistic expression.”
The opening scene (0:00-0:28) of nature features poems by four other poets (Esther Aloba, Nkosi Nkululeko, Makayla Posley, and Trace Depass). As their voices overlap, images crossfade as well.
From 0:39 to 0:42 we can see 5 different shots being cut together very fast. This together with audio effects creates tension and gives the viewer glimpse of a setting – New York city.
0:44 – positive motion within the frame: we are introduced to the first character. 0:46 – as we hear light switch sound, colored shot becomes black and white: flashbacks of the first two characters.
0:59 – fast jump cut sequence made with creative purpose. It works perfectly together with audio effects – old camera sounds. 1:18, 2:26 – other jump cut sequences.
1:00-1:06 – interesting shot: camera moves from portrait shot to the sky, tracking the sun.
2:18-2:50 – beautiful sequence edited to music.
The filmmakers use close portraits and details to make the story more personal.
The video creators also use fast cuts of detail shots (1:25-1:27, 1:44-1:47) as a cinematic effect to show locations and contribute to the look and feel of the neighborhoods.
I think, “Things I carry into the world” is an important piece of art we should pay attention to. First of all, it is a nice example of artistic collaboration. And secondly, it carries a great message: “Today, it is more important than ever to walk in the shoes of individuals that come from different backgrounds. Those are the avenues that help knock down racial barriers, social injustices, and aim for more unified world,” stated it’s authors.
Overall, the idea of adapting poetry to film and using poems as scripts sounds alluring to me: skillful and thoughtful visual storytelling along with poetry can offer the audience layers of meaning.
I reached out to video’s DOP, Frances Chen, LA-based cinematographer and filmmaker, and asked her some questions via email:
Initially, “Things I Carry Into The World” started as a Kickstarter project, and your team consisted of 4 people. I assume, your team began working on the video this year sometime in mid June?
TICITW really started when Motion Poem reached out to Pat and Jamil. They started the kickstarter to fund the project.
I joined the project a little bit later. I assume Pat, Jamil and Claire started sometime in May and then went through the process to look for a DP. But yes, I jumped onboard sometime in June.
How many people were involved in filmmaking?
Besides the four of us, we had steadicam ops, 1st AC, DIT, one person to help me out with G&E and couple PAs. Pat and Jamil wanted to keep the shoot intimate and on the smaller side.
How much time did you spend on this project including preparation, filming and postproduction?
The moment I jumped on board we started pre-producing, which consisted of sharing references, building a visual language and setting up goals that we wanted to achieve. We filmed the piece over two weekends. We had two principal photography days and two B-roll days where it was just the four of us running around the city.
I had to fly back to LA after the shoot. Jamil and Pat took care of post.
What camera and lenses did you use?
We shot on the Alexa Mini with Leica R primes that was rehoused.
How does it feel like to work in a team with two directors? Did you have any difficulties working with each other (different vision, approaches etc.)?
I have never worked with two directors before. I had my concerns. But after the first face-to-face meeting (I was in LA till two weeks before the shoot) I realized that Pat and Jamil’s minds are really connected. They’ve talked so much that they are almost always on the same page. Even when they were not, it was a very healthy process of communication and bouncing ideas off each other.
I still have fond memories of working on this project because there was a lot of respect for what each of us does. We really talked it out and found the best thing to do for the project.
How much networking is important in our field?
It is very important. I don’t think I’ve ever gotten a job because I submitted my reel or resume. It’s always through mutual friends or people introducing me to other people.
I personally hate networking or just the word itself. I have a friend who calls it “making a genuine connection.” I think if you really try to talk to someone and understand where they are coming from and where they are going (rather than just what they can do for you or hire you) you form a real bond that will lead to opportunities.
And returning to the video: there are four characters in different settings. How did you choose settings for each? How important are they?
Pat and Jamil found four young poets through Urban Words. They wanted to extend Cynthia’s poem to these young poets’ experiences and their work. Through their poems and conversations with them, Pat and Jamil came up with the settings.
The settings are very important since there is no dialogue. In a sense, they speak for the piece as much as the poem itself.
Besides examining how each of our four poets channels their burdens through creative work you also wanted this video to be “a love letter to New York City.” How did you plan to achieve this goal? Do you think that the city has become your “fifth character”?
I think it goes back to the settings speaking for the piece. The city is the fifth character that four poets interact with differently. Everyone who lives in New York has a love/hate relationship with the city. It’s charming at times but it can also be brutal. We wanted to show an accurate representation of the tough parts of living in the city but we also cut in b-roll that shows you the quotidian beautify that the city has to offer. Those are the two-sides of city we are trying to present.
I love the way this video is edited. There are many cinematic techniques used in this video: extreme closeups, jump cuts and fast sequences that work great together with audio effects, transitions to black and white. Tell me about post production process and how those techniques helped to tell those stories?
That’s all Pat and Jamil. The film is composed of four little films. Within those smaller films, the structures are really clear. Pat and Jamil really worked some magic in the editing room. When I saw the first cut it really blew me away.
What DPs do you look up to, if any?
There are so many DPs I love and for completely different reasons! No one tells one story the same way!
Personally, I love Bradford Young, Kasper Tuxen and Natasha Braier and all for different reasons. I also look up to Reed Morano, ASC. She is very vocal about women in film and I appreciate how she once said that she does not want to be hired just because she is a female cinematographer. I think all female cinematographers feel the same way. We have pride in our art as much or more than our gender.
There is a short video “For Cindy” on your vimeo page: a beautiful story told with only 6 shots. It has character, problem, tension and a hint on resolution. How did you come up with that idea? Was it challenging to film that story?
Oh wow, that’s the first film I’ve ever directed. It was my intermediate project at NYU. The link you saw is actually just a teaser. I have never gotten around to finishing the piece but I really should.
It was inspired by Cindy Sherman’s “Untitled Film Stills” series. The photos are connected by the subject which is Sherman. I wrote a narrative that links the photos up. The narrative is about day to day judgments we face. I told my team that it’s not just about the male gaze but really it’s every person’s gaze.
Do you have any particular advice for beginning cinematographers?
I think perseverance is the keyword to becoming a cinematographer. It’s a tough career; it is demanding both mentally and physically.
Really cultivate what your artistry is about and know your strengths. Like I said, no one will tell the same story the same way as you.
Then, he pitched the project to Field Notes as a piece of branded content. They obviously loved the idea, especially along with the text that the copywriter Adam Cote wrote for this video:
until 00:22 don’t have people in them, they are cut slowly to match the music. At 00:32 music goes faster and the editor uses quick cuts. The quick cuts of children and grownups—running, laughing, playing, just being themselves—are mixed with shots of stormy seas, late-night drives and fireworks to create an evocative editing. The music, the use of natural sounds, indoor and outdoor shots (rocking chair, glimmering lamp; dark cloudy sky, twilight sea, children, a toddler with mom, trees, spiders and night driving) help to create a thoughtful mood.
This short ad is a great example of using nonfiction storytelling with branding purpose. The use of strong narrative copy, sometimes shaky but intimate footage and eloquent editing techniques inspire viewers to take their pens and capture special little moments before they pass by. 
