Meet the DocuWeek Filmmakers: Kristi Jacobson-- 'Toots'

Over the next couple of weeks, we at IDA will be introducing our community to the filmmakers whose work will be represented in the DocuWeek^TM Theatrical Documentary Showcase, August 18-24. We asked the filmmakers to share the stories behind their films--the inspirations, the challenges and obstacles, the goals and objectives, the reactions to their films so far.

So, to continue this series of conversations, here is Kristi Jacobson, director/producer of Toots.

Synopsis: Toots is a provocative, loving and unmistakably authentic portrait of legendary Manhattan saloonkeeper Toots Shor, a self-made, unapologetic and quintessentially American man. This film, directed by Shor's granddaughter, Kristi Jacobson, reveals as much about New York's golden era as it does about the man and his enduring legacy.

IDA:   What inspired you to make Toots?

Kristi Jacobson:   The inspiration behind Toots is in many ways very simple: Toots Shor was my grandfather. He passed away when I was just six years old, so I had only vague memories of him and certainly did not know him as the legendary, "bigger than life" saloonkeeper and loyal friend he was to so many.
My curiosity about Toots was sparked while making a film about the Teamsters Union in 1999. Through some old-time truckers, I learned of my grandfather's friendship with Jimmy Hoffa and the $7 million loan the Teamster's Pension Fund granted my grandfather to build his second restaurant in 1960. Not only was the amount of this "loan" intriguing, but so was the fondness with which these tough-talking truck drivers spoke of Toots. I was in Los Angeles at the time and I paid a visit to Eleanor Mark, whose late husband, Bill, was the restaurant's unofficial photographer for over 30 years. We sat in her living room, poring over hundreds of photos as she shared stories about Toots. For the first time, my grandfather and his saloon came to life. His story, it seemed, was such an American story, one that revealed so much about the city I lived in and loved, about embracing life every day. From that moment, I was hooked on Toots; I had to know more. This, it turned out, was just the beginning of my eight-year odyssey to uncover the story of Toots Shor.

IDA:   What were some of the challenges and obstacles in making this film, and how did you overcome them?

KJ:   One of the toughest challenges in making this film was dealing with a subject that was so personal: This was my grandfather's story. There were times when I struggled between the roles of filmmaker and of daughter and granddaughter. I made the decision early on that this film was not about me, that I would not narrate or star in the film, and though this made finding the narrative arc a bit more complicated, I felt very strongly that it was his story that needed to be told, not mine. I was able to overcome these challenges by working with a team of incredibly smart, thoughtful and talented producers and editors who supported that vision, and above all with a team of people that I trust. Together we were able to find the best solutions, both for the film and for myself and my family.

IDA:   How did your vision for the film change over the course of the pre-production, production and post-production processes?

KJ:   When I set out to make Toots, I really had no idea what I would find! I knew a few basic facts about Toots Shor's life, but I didn't know anything about the meat and potatoes of his life, the challenges he overcame, his beliefs or his connections to the underworld. So research shed some light on a lot of these details. But it was during the incredibly challenging edit period that we realized this film is about more than just Toots; it is very much the story of New York City, told through this unique character's life. This realization helped enormously in our struggle to structure the film.

IDA:   As you've screened Toots --whether on the festival circuit, or in screening rooms, or in living rooms--how have audiences reacted to the film? What has been most surprising or unexpected about their reactions?

KJ:   I am always surprised by the emotional responses of audiences to the film; this is true of any film that you put your blood and guts into, because by the end you have lost all perspective. I think the most surprising reaction has been that of younger audiences. I expected people who remembered my grandfather, or his restaurant, to enjoy the film and the memories or emotions it brought back. But what I have really enjoyed is the overwhelming response from younger audiences--people who were not even born during Toots' lifetime--who tell me how much they identify with Toots, or how much they learned about New York, about sports, about the 1940s and 50s, or how they leave feeling nostalgic for a time they never experienced. Many find connections to their own family histories that surprise me.

IDA:   What docs or docmakers have served as inspirations for you?

KJ:   I spent many years working with one of the most inspiring documentary filmmakers of our time--Barbara Kopple. Barbara's commitment to her subjects and her patience and persistence in the face of adversity continue to inspire me. The brutal honesty and intensity of her films, especially Harlan County USA, always remind me of the unique power of a documentary film to bring us inside a world, a people, a culture, a struggle, that is not our own.
I also watched a number of historical and biographical films as research for Toots and found inspiration in Errol Morris' The Fog of War, and during the final weeks of our edit, Stanley Nelson's Jonestown: The Life and Death of Peoples Temple (edited by Toots editor Lewis Erskine) was inspirational, too; each uses different techniques to masterfully tell a story. And I can't forget to mention the very first documentary film that inspired me: Gimme Shelter, by the Maysles Brothers [and Charlotte Zwerin]--an absolute work of brilliance that I always learn something new from and can never watch enough times!

To view the entire Docuweek program, visit http://documentary.org/programs/index_06.php.

To download and view the Docuweek schedule, visit http://documentary.org/src/DW/DocuWeek_Schedule.pdf.

To purchase tickets to Docuweek, visit www.ArcLightcinemas.com.