Redford: Chevron Move to Seize Ecuador Film Footage "Shocking"

The below article appeared on The Huffington Post today:

Joe Berlinger vs. Chevron: Why We Must All Defend Independent Filmmaking

I have devoted a significant part of my life's work in support of the independent artist -- independent referring not to the size of a project, its funding or subject matter; rather, to the singular vision and voice of that artist. I founded Sundance Institute 30 years ago out of the belief that it is vital to ensure that the artist's voice remains vibrant, valued and heard in civil society at large.

It is with this in mind that I ask you to join me in bringing wider attention and broader support to a critically important case currently in play in U.S. courts.

On May 6, 2010 Judge Lewis A. Kaplan ordered filmmaker Joe Berlinger to turn over to Chevron Corporation all raw footage -- some 600 hours -- from the making of his documentary, Crude: The Real Price of Oil. Chevron has sued to use this footage to bolster its legal proceedings in the very same case that is the central subject of Berlinger's film. The potential ramifications of this for the journalist community, film world and society in general are both shocking and profound.

Joe Berlinger has been connected to the Sundance family in a variety of ways for a number of years. Crude made its world premiere at the 2009 Sundance Film Festival; he has volunteered his time and expertise to Sundance Institute by serving as both a competition Juror and a Festival panelist, and he has participated in the Institute's Documentary Film Program. He has directed Sundance Channel's award-winning Iconoclast series along with Bruce Sinofsky and his films have been broadcast on the Channel as well.

His stellar career includes such landmark documentaries as Brothers Keeper, Paradise Lost and Metallica: Some Kind of Monster, all of which premiered at our Festival. But even if there were not these connections, I would strongly call for his support. Here's why.

Filmmakers like Joe Berlinger fulfill a crucial role in today's society by providing independent information on pressing contemporary human rights and social issues. Their success as storytellers depends on access to those men and women willing to talk on camera. If the subjects of those documentaries are fearful of the ramifications of telling the truth then the filmmaker has no story.

Without a shield law, there is no recognized journalist/filmmaker/source protection, creating the very scenario we have now. The judges in this case must recognize this is first and foremost a first amendment issue. The higher courts need to overturn the decision and adhere to higher standards of journalistic privilege.

If we allow the voice of the independent artist to be stifled we should expect nothing less than extreme repercussions for freedom of information...and freedom in general.

You can support Berlinger's legal efforts by going here.

Robert Redford is the Founder and President of Sundance Institute, a non-profit arts organization which supports independent artists worldwide.

www.sundance.org

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LA Times Editorial: Chevron Should Be Prevented From Violating Journalist's Privilege

Chevron sues over 'Crude'

A documentary's unused footage, akin to reporters' notes, should be protected.

Journalism that serves society does not always spring from objectivity, nor is it always written from a distance. When Upton Sinclair exposed the conditions of Chicago's meat industry, he did so on assignment from a socialist newspaper. He went to work in grim stockyards and returned with "The Jungle." The result was a revolution in food safety and the founding of the Food and Drug Administration.

Sinclair's closeness to his story gave his journalism urgency and moral power. It was precisely the sort of work that deserves the greatest protection from corporate intrusion. That lesson, however, has been turned upside down by a New York federal judge who this week ordered a documentary filmmaker to turn over outtakes of his work to Chevron.

The man at the center of this important 1st Amendment battle is Joe Berlinger, a respected documentary filmmaker who launched a project in 2005 to chronicle a landmark lawsuit filed by Ecuadoran indigenous people seeking compensation for environmental damage. Berlinger's acclaimed documentary, "Crude," followed the case, focusing on the lawyers for the plaintiffs. Chevron, however, says several scenes reinforce the company's charge that those lawyers cooked up the case: In one, a lawyer for the plaintiffs meets with an expert witness hired by the government to estimate damages from oil in the Ecuadoran jungle; in another, a lawyer is shown meeting with the judge and remarking that such a meeting would be inconceivable in the United States but not in Ecuador, because there "this is how the game is played. It's dirty." Because just a fraction of Berlinger's footage made it into the final film, Chevron believes there was potentially more damaging material left on the cutting-room floor, so it sought to force Berlinger to hand over his outtakes.

Were the material in question notes gathered by a journalist in pursuit of a story, the journalist's privilege, which recognizes the societal benefit of allowing journalists to shield their unpublished notes, would almost certainly have protected it. So the issues were: Was Berlinger a journalist, and do the protections for notes extend to film outtakes? U.S. District Judge Lewis Kaplan sided with Berlinger on both points, concluding that the filmmaker covered a newsworthy event and disseminated his findings to the public — a fairly sound description of journalism in any form.

Nevertheless, noting that the journalist's privilege is a limited one, Kaplan ordered Berlinger to turn over the footage precisely because, paradoxically, Berlinger's close ties to the plaintiffs meant that he has material that Chevron is unable to get anyplace else. (Kaplan seems to have overlooked the presence of other witnesses in the filmed scenes.) Kaplan may be right that Berlinger has exclusive material, but forcing him to relinquish it turns the point of journalistic access on its head: If journalists must reveal what they learn but do not publish from those sources they cultivate most carefully, then sources will keep them at arms' length. This nation is better off because Sinclair was able to insinuate himself into Chicago's meatpacking plants; it will be better again if Berlinger prevails on appeal. And it will be better still when Congress passes a federal shield law that protects journalists and their sources.

Copyright © 2010, The Los Angeles Times

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