What made you want to do a documentary on the John Sayles's film Matewan?

Honestly, I didn't want to make this or any other documentary, but I think like a lot of filmmakers I wanted this story to be told and no one else seemed to be telling it.

I grew up in West Virginia with many a substitute teacher showing Matewan in class and was able to meet so many people who worked on the film growing up. My first film class was from filmmaker Danny Boyd, who worked on Matewan and produced some of the more notable native West Virginia films of the 1980's. I really appreciated the impact that this film had on the people I knew and the impact those people have had on others lives. I knew actors who saw Matewan as the thing that emboldened their choice in life, and entire communities that found a mission to pursue after the movie came out. We're twenty years past now, an entire generation has grown up believing that filmmaking is a possibility because Matewan was made in West Virginia--near these people's homes. This was a sweeping story that reached so far into the lives that it touched after it was over. And no one was telling that story.

In 2003, I met John Sayles and Maggie Renzi as a part of the West Virginia International Film Festival. Maggie and I got to talking about the number of people from Matewan who aren't with us anymore, and I realized I had to get this movie made and now. People die, land is developed. Things change. Instead of working on music videos or something else commercial, I dove into this documentary just trying to make sure that these people's story is told. I hope that is accomplished more than anything else.

Was the project something you envisioned doing for a long time?

This was a movie I always expected someone to make, just not me. I think it's fascinating to see the impact that a movie can have on the people involved in making it. There are so many "retrospectives" of films, but they don't look at the communities of people touched by simply bringing a film crew to town and pointing the camera at something. Here was a movie about something. The Labor Movement owed a lot to this movie, and like organized labor there hasn't been enough attention give to this film.

What has the production process been like? Are you happy with the way its progressing?

I started this movie thinking I could only tell the stories of the extras, crew and bit players that I had come across in my life in West Virginia. So, I've started slow, gradually picking up footage and interviews over the last year. Suddenly, I found myself with a scheduled interview with both John Sayles in his offices and then David Strathairn on location for We Are Marshall. It's been incredible. While I've been welcomed with open arms by several other cast and crew members as well, I'm currently working to schedule interviews around D.C. and in Los Angeles. Unfortunately, I'm scrounging up the money to continue production now. Then it will be time to scrounge up completion funds. Nothing out of the ordinary for independent films.

I'm very happy with where things are now. While raising money for any film is tough, I occasionally look at what's shot and realize there's a great film here that's coming together very nicely. Just slowly.

What are some of the most interesting things you have learned from your research and/or interviews done about the film?

I am as amazed with the number of people I find who list working on Matewan among the major events of their life, along with their marriage or birth of their children, and the number of both West Virginians and filmmakers who have very little if any recollection of what I'm talking about.

I think we forget sometimes how much of an affect we have on other people's lives. This was a major event from the lead actor to the local casting director to the people who rented out their homes to the woman who sewed the costumes. Sayles has made some sixteen films, but that was probably the only time many of those people would ever be on a movie set.

Even with those sixteen films, I was shocked at the number of people who knew the name Sayles but couldn't put a film to the name. They knew who David Strathairn or Chris Cooper was if I showed them a picture but didn't know the two had worked together--let alone twice. My own mother kept telling people I was working on a movie about James Earl Jones. It's an incredible film that has fallen between the cracks for some people that should know what Matewan is.

My own perspective on the film has always been how it helped shape the identity of my home and the people who live there. But it was surprising when I asked Mr. Strathairn how it felt to have portrayed two important figures in West Virginia history, he hadn't really thought about it. I'm not sure if that was the first time he'd put those two ideas together. I'll be curious to ask Chris Cooper the same question. (Strathairn having played both Sid Hatfield and the President of Marshall University / Cooper having played Keenahan in Matewan and Mr. Hickham in October Sky).

You interviewed both David Strathairn and John Sayles for their work in Matewan. What was that experience like, and what did they tell you that you found interesting or fascinating?

I'm not a big guy, and I haven't missed many meals. So, simply standing next to both of them made me feel incredibly self-conscious regardless of the fact that I grew up watching both of them. They both had great stories about my home that reaffirmed every reason I had to make this movie. What was most fascinating was how endeared they were to West Virginia as well.

When we were setting up the lights, I had it in my mind that David Strathairn was 6'5" or something because of the immense presence of the characters he has played. I was grateful to find him both human size and incredibly humble. When I interviewed Sayles, it was 104 degrees that day, but we had to turn off the air conditioners due to the problem they create with the sound equipment. Needless to say, I was sweating like a faucet. John was gracious and very understanding.

More than anything, I think I've discovered that the cast and crew of Matewan were uniformally good people. I don't think you could ask or cast for that--but I think it comes across. It's definitely made my job more enjoyable.

Do you have any favorite moments from the film and why?

When I finish I'll tell you.

Oh, yeah Matewan. My favorite moment is when Will Oldham turns to Chris Cooper and says, "We don't need no more help." It's that moment when I realized someone outside of these mountains understood the frustration and anger we've faced. It gives me chills every time I see it.

The other moment is probably at the funeral scene. I remember singing at my grandma's funeral; so, it rings true to my past, which is something very powerful in film when it happens.

John Sayles has made several incredible films, yet, Matewan is still considered by many to be his best work. Why do you think that is?

Matewan was the crystallization of so many things. It had been written before much of the work that pushed Sayles to the level of "Indie Icon." It came from research he had done for his book Union Dues. And they had tried to get it made once and things fell through. By the time, Matewan was made in 1986, so many pieces had come together. I just think the film is tighter, fuller, broader, and filled with so many talented people that it shows on screen.

On top of all that, I think it's moral and political viewpoint is clearer than some of his other films to explain to people. The movie impacted the Labor Movement which had been floundering in the 80's. It was a flashpoint for independent film for its ability to be epic on a small budget. It really had the reach to go beyond just its story.

In my humble opinion, Matewan is the start of Sayles' peak production period including Eight Men Out, Passion Fish, City of Hope, Secret of Roan Inish and then Lone Star. I couldn't imagine to say one is better than the others.

Matewan is an important film for many reasons, but why do you think, after 20 years, it still holds such significance?

Do you realize the number of Oscar winners and nominees involved with this film? It's amazing that more people don't point to it. David Strathairn, Chris Cooper, James Earl Jones, Mary McDonnell, John Sayles, Avy Kauffman, Haskel Wexler.

Beyond all of that, it's a great story of people not overcoming some created adversity but trying to deal with the inevitable adversity that life brings. At the end of the day, adversity is still there--how are you going to deal with it? There are those who work for change and those who don't. Which are you?