Christine Yoo is a director, producer, author, a volunteer at San Quentin State Prison, and co-founder of the San Quentin Film Festival. As a producer she has labored on non-fiction sequence for National Geographic, History, Oxygen, and PBS, amongst others. Her unbiased work focuses on under-served voices. Career highlights embody the documentary quick “A Conversation With Claudia,” a particular challenge for P.S.1/Museum of Modern Art (MoMA), serving as co-writer of the cult anime sequence “Afro Samurai”, and directing, producing, and co-writing the award-winning Korean-American rom-com “Wedding Palace.” “26.2 to Life” is Yoo’s first function documentary.
“26.2 to Life” is screening on the 2022 DOC NYC movie competition, which is working from November 9-27.
W&H: Describe the movie for us in your individual phrases.
CY: “26.2 TO LIFE” tells the story of three incarcerated males convicted of homicide who’re members of the 1000 Mile Club, a protracted distance working membership at San Quentin State Prison, which is organized and coached by veteran, volunteer marathoners who come into the jail to coach and exercise with the incarcerated runners. The membership’s working season culminates in an annual marathon, 105 grueling laps across the jail yard.
This movie captures the marathon inside California’s oldest jail and explores what introduced these males to the beginning line at San Quentin on and off the observe. Though they’re linked by absentee fatherism, multi-generational incarceration, the criminalization of race and poverty, and the battle for freedom, Markelle Taylor, Rahsaan Thomas, and Tommy Lee Wickerd every have distinctive tales to inform.
The marathon serves as a metaphor for a way these males method dwelling life with a life sentence. I used to be impressed to inform the story of the 1000 Mile Club as a result of their story was one among redemption and resilience, and it confirmed me that people can and do make a distinction, that change is feasible and it’s taking place.
W&H: What drew you to this story?
CY: Over 20 years in the past, I turned mates with Hyun Kang, a fellow Korean-American who may’ve simply been my brother — however he discovered himself sentenced to life in a California State Prison with none hope of ever getting out earlier than he died. I’ve all the time been considering social justice points, and particularly these regarding the prison authorized system, however till that point, I had not identified anybody personally who had been in jail. My good friend’s expertise made me suppose far more deeply in regards to the influence of incarceration, not solely on the person and their household, but additionally on the bigger neighborhood. It additionally made me need to perceive how individuals who count on to be in jail for all times discover methods to proceed dwelling.
The alternative to discover that query got here to me after I learn an article in GQ in regards to the 1000 Mile Club. I knew instantly that I wished to make a movie in regards to the marathon. I couldn’t get Van Gogh’s “Prisoners Exercising” out of my head. I’ve skilled “runner’s high” and the sense of freedom that comes from working and will think about how helpful that could possibly be to folks in jail. What I didn’t but perceive was how vital a job working and a working neighborhood may play within the course of of private and social transformation.
I’ve a story background and was going to jot down a story script. But after I started researching, speaking with the coaches, presently and previously incarcerated members of the membership and going contained in the jail, I used to be compelled to inform this story as a documentary as a result of I felt folks wanted to listen to what I used to be listening to straight from the supply.
W&H: What would you like folks to consider after they watch the movie?
CY: I hope the movie will spark dialogue about our method to incarceration, rehabilitation, and neighborhood engagement. The 1000 Mile Club taught me that, with assist, rehabilitation is a sensible purpose and it will possibly change the jail system and our relationship to it as we all know it.
My crew hopes the movie will encourage new 1000 Mile Running Clubs in additional prisons and communities throughout the nation and we’re making a toolkit to facilitate that purpose.
W&H: What was the most important problem in making the movie?
CY: The hardest factor about taking pictures in a jail and telling a narrative that required multiple-entry entry over a protracted time period was not figuring out the following time we’d get entry to shoot. Also, we knew lockdowns may occur at any time, and nothing is assured, so each second inside counted. This was additional difficult by the truth that I didn’t have contact with topics the day earlier than taking pictures, so plans needed to be made properly upfront. Often I requested Marion, Tommy’s spouse, to assist coordinate shoots, particularly after we shot contained in the cell block or areas off the observe. She would relay the schedule to Tommy after which Tommy would share it with the remainder of the fellows.
Carefully planning what gear to take inside was all the time a precedence. First off, having gear on a truck or in a holding space to entry is not possible, so the whole lot we took inside we carted round in rolling laundry hampers so we could possibly be cellular. Inside the cell block, it was fairly darkish and there was a really restricted quantity of house to maneuver, so we needed to be improvisational and versatile.
On race days we had multiple-camera protection and several other area groups gathering footage, however with out entry to walkie-talkies contained in the jail, we needed to cowl a sporting occasion with out the good thing about instant communication among the many groups. We needed to have very detailed plans stepping into about who was doing what and when. There was quite a lot of consulting with the Coach about what he thought would occur, so we operated on some assumptions stepping into but additionally needed to be prepared to reply spontaneously.
W&H: How did you get your movie funded? Share some insights into how you bought the movie made.
CY: This is the primary time I’ve helmed a function size documentary, so I knew I’d have to boost the funds independently. We initiated manufacturing via a profitable Kickstarter marketing campaign, and raised cash via donations, grants, and buyers as we went alongside.
Also, I did quite a lot of taking pictures and enhancing myself and did quite a lot of area work with affiliate producer Zahava Hirsch taking pictures sound and getting as a lot footage as we may collectively, which saved some huge cash.
I’m grateful to everybody who took this journey with me and was concerned in making and finishing this movie.
W&H: What impressed you to change into a filmmaker?
CY: At some level once I was rising up, I observed I by no means noticed individuals who had been Asian on TV or in films and I cherished TV and flicks! During the uncommon prevalence when Asians had been on TV, their portrayals had been distorted and felt international to me and the world I inhabited as an Asian American. At the identical time, I used to be all the time concerned within the arts rising up. I used to be a aggressive piano participant, painted, and had carried out a little bit of theater.
I had all the time wished to strive appearing and thought I had a superb probability of being solid within the upcoming native theater manufacturing of “The King & I” as one of many King’s youngsters as a result of they had been alleged to be Asian. Beyond the truth that a lot of the youngsters solid had been white, I bear in mind getting indignant about the truth that as an Asian, my world of potential appeared so restricted. It was incidents resembling that that ultimately drove me to change into a storyteller.
W&H: What’s the very best and worst recommendation you’ve acquired?
CY: My Dad all the time instructed me, “Fall down seven times, get up eight times.” I’ll remind myself of this when issues aren’t going my manner.
The worst recommendation is being instructed to surrender when confronted with adversity or to not pursue one thing I care about.
W&H: What recommendation do you will have for different ladies administrators?
CY: If you will have a movie you need to direct, exit and make it. Don’t ask for permission and educate your self as greatest as you possibly can on funds and legalities. But I’d inform that to any director, feminine or male.
The solely factor I’d add particularly for a feminine director is that your journey will almost definitely be tougher than that of our male counterparts, so collaborate with individuals who may have your again via the powerful occasions. For this movie, I put collectively an all-female producing crew and it was an extremely collaborative surroundings.
W&H: Name your favourite woman-directed movie and why.
CY: I actually loved “Nomadland” by Chloé Zhao for its humanity and scope, and it meant rather a lot to me when she received the Oscar for Best Director.
W&H: What, if any, duties do you suppose storytellers need to confront the tumult on the planet, from the pandemic to the lack of abortion rights and systemic violence?
CY: I really feel a accountability to give attention to tales of underrepresented voices. But I don’t view it as a burden in any manner; it brings me pleasure and objective to have the ability to inform and share tales which will stay unknown or hidden if my digital camera wasn’t there.
The final hope is that “26.2 to Life” can carry consciousness and spark dialogue about rehabilitation and reimagining our jail system.
W&H: The movie trade has a protracted historical past of underrepresenting folks of coloration onscreen and behind the scenes and reinforcing — and creating — unfavourable stereotypes. What actions do you suppose have to be taken to make Hollywood and/or the doc world extra inclusive?
CY: My reply to the trade’s historical past of underrepresentation has merely been to carve out my very own path. The neatest thing I can do to enhance this case is to be my very own particular person and observe via on my imaginative and prescient. For this movie, we put quite a lot of thought into casting and ensuring that there was numerous illustration of topics and storylines. My core producing crew was additionally all feminine. So it’s very attainable that initiatives could be made to mirror extra variety within the office and spotlight non-traditional views, nevertheless it needs to be a precedence of the crew and filmmaker to do that.