Barry Simmons
Barry Simmons, founder of Stone Castle Pictures, is truly a film maker with a deep heart. In 2008 Barry left his career in local news to embark on his first documentary, SONS OF LWALA. The film follows a med student from Africa in his quest to bring an aids clinic to his native village. Following the success of that film, he began producing videos for clients of all shapes and sizes, many in the non-profit sector. Justin had a chance to interview Barry as he works on a new project for Nashville chapter of the American Red Cross.The Harmony Republic Interview
Here is our exclusive Harmony Republic interview with Barry Simmons:
1. Tell us about your motivation to follow Milton and his story? What inspired you to leave a secure job and follow a project with no budget?
I was a local television reporter in Nashville at the time and was really grappling with the kinds of stories I was sent to cover. Car wrecks, house fires, water-skiing squirrels. I was about to turn 30 and was genuinely worried those would become my legacy as a journalist. I wanted to tell stories that offered more than what I was reporting for the evening news. So it was in that frame of mind that I met a Vanderbilt med student from Kenya for coffee one morning. His name was Milton Ochieng' and within minutes of hearing his story I had the sudden and distinct impression that I was being brought to an important crossroads in my life. I had never considered documentaries before but I knew that producing one could take Milton a long way toward raising the money for his village's health clinic. I envisioned using it to rally supporters all over the country, from college campuses to film festivals. Of course, I hadn't the slightest idea how to begin producing a documentary, but I couldn't escape the feeling that I'd been handed an opportunity to create something of genuine artistic value that might even play a role in bringing health care to Milton's village. When I factored out the fear of how-in-the-world-can-I-pull-this-off, it was a no-brainer. The idea got me so excited I quit my job several weeks later.
2. What would you say has been the largest impact the film has had on your life?
Professionally, it's changed the direction of my career. There's no going back to news. There's just something intoxicating about the power of film to change attitudes and motivate audiences to action. Plus, it pays better. Personally, it's meant the world to have a film that others are using as a tool to bring about good. Students at dozens of universities have held fundraiser screenings of the documentary -- most of the time I don't even hear about them until afterward. And that's actually the beauty of it: even though I've moved on to other projects, the film has empowered other people to carry the ball themselves. And that's a model for documentary filmmaking I hope to return to soon.
1. Tell us about your motivation to follow Milton and his story? What inspired you to leave a secure job and follow a project with no budget?
I was a local television reporter in Nashville at the time and was really grappling with the kinds of stories I was sent to cover. Car wrecks, house fires, water-skiing squirrels. I was about to turn 30 and was genuinely worried those would become my legacy as a journalist. I wanted to tell stories that offered more than what I was reporting for the evening news. So it was in that frame of mind that I met a Vanderbilt med student from Kenya for coffee one morning. His name was Milton Ochieng' and within minutes of hearing his story I had the sudden and distinct impression that I was being brought to an important crossroads in my life. I had never considered documentaries before but I knew that producing one could take Milton a long way toward raising the money for his village's health clinic. I envisioned using it to rally supporters all over the country, from college campuses to film festivals. Of course, I hadn't the slightest idea how to begin producing a documentary, but I couldn't escape the feeling that I'd been handed an opportunity to create something of genuine artistic value that might even play a role in bringing health care to Milton's village. When I factored out the fear of how-in-the-world-can-I-pull-this-off, it was a no-brainer. The idea got me so excited I quit my job several weeks later.
2. What would you say has been the largest impact the film has had on your life?
Professionally, it's changed the direction of my career. There's no going back to news. There's just something intoxicating about the power of film to change attitudes and motivate audiences to action. Plus, it pays better. Personally, it's meant the world to have a film that others are using as a tool to bring about good. Students at dozens of universities have held fundraiser screenings of the documentary -- most of the time I don't even hear about them until afterward. And that's actually the beauty of it: even though I've moved on to other projects, the film has empowered other people to carry the ball themselves. And that's a model for documentary filmmaking I hope to return to soon.
3. Tell us about the Lwala community Alliance and it's programs.The LCA is a non-profit started by Milton and his brother Fred to improve their village's health, educational opportunity, economic freedom, cultural vitality, and spiritual growth. The people of Lwala know that the obstacles they face are interconnected. Poverty and disease and lack of educational opportunity run together, and it takes a holistic approach to overcome them. That's why it's so exciting that the LCA is quickly expanding its programs to include maternity care, HIV/AIDS services, medical education, and microfinance. You can visit the website at www.LwalaCommunityAlliance.org.
4. As a filmmaker, will you continue to pursue films that meet humanitarian needs?
Well, I think I'll always have an interest in films that deal with social justice issues. There are just so many hidden spots in the world that need illumination. Not that I wouldn't have a blast filming something hilarious like "King of Kong", but for me, producing art for the sake of art (or worse, money) feels a little empty. There has to be a higher end.
5. What is your vision for Stone Castle Pictures?
SCP exists primarily as a documentary film production company, and we're always looking for ideas. The farther away the story, the better. I'm fascinated by other cultures so whatever the next film is, I expect to collect some serious frequent flyer miles. In the meantime, we've also begun filming shorts for non-profits. That's the work that keeps food on the table in-between these longer projects. They've actually been extremely rewarding because non-profits, for all their great work, seem to have a hard time telling their own stories. The closer you are to something, I guess, the more difficult it is to see.
6. What advice can you give those that wish to pursue the creative arts as a profession?
We all like to think of ourselves as free and original thinkers, but the reality is we're a product of our cultures. We do what we see. That's why the media -- news, sitcoms, movies -- influence us so much. They define what's real, especially for those of us looking for a shorthand for how to live. That puts an incredible responsibility on those of us producing art. We are literally writing the narrative of our culture. So I just think it's important to acknowledge that as we choose our subjects and as we frame the pitch and tone of our films, music, or whatever. People look to art not just for entertainment, but for meaning, and we as artists have an opportunity at least, when the time is right, to lift our audience's gaze toward things that matter.