Ed Pincus (Co-director, Producer)
Ed Pincus began filmmaking in 1964, developing a direct cinema approach to filming social and political problems. He has credits as producer, director, and cinematographer on all of his films, and was cinematographer on many additional films throughout his career. Pincus’ filmmaking was always on the technical cutting edge—e.g., the early use of color in natural light situations and the development of single-person filming techniques. A recipient of a Guggenheim Fellowship (1972) and several grants from the National Endowment for the Arts, he started and developed the MIT film section where he influenced a generation of filmmakers. Pincus was Visiting Filmmaker at Minneapolis College of Art and Design and Visiting Filmmaker for three years at Harvard University. He authored the highly acclaimed book Guide to Filmmaking (1968); and co-authored The Filmmaker’s Handbook (1984, 1999, 2013) with Steven Ascher. In the early ‘80s, after abruptly retiring from filmmaking due to threats on his life, Pincus moved his family to Vermont where he eventually built a successful commercial flower farm. Twenty years later, in 2005, Pincus returned to filmmaking to collaborate with Lucia Small on THE AXE IN THE ATTIC (2007), about the Diaspora of Hurricane Katrina and the role of witness.
Pincus’ early films include: BLACK NATCHEZ (1967), a documentary that follows the aftermath of a car bombing in a Southern town during the Civil Rights movement; PANOLA (1965), a portrait of a wino, alleged police informant, and follower of Malcolm X; ONE STEP AWAY (1967), an intimate portrait of a hippie commune in California during the Summer of Love; LIFE AND OTHER ANXIETIES (1977) co-directed with Steven Ascher, part personal documentary and part experiment in the mode of cinema verité; and DIARIES: 1971-1976 (1981) an intimate portrait about his own family, friends, and (open) marriage. Inspired, in part, by the effects of women’s liberation, DIARIES is considered the seminal film in defining the possibilities of what came to be called “personal documentary”. Le Monde, in a front-page review, called DIARIES, “an epic work that redefines an art, forcing us to rethink what we thought we knew about the Cinema”.
In 2007, THE AXE IN THE ATTIC premiered at the New York Film Festival and screened at various festivals, including Cinema du Reel, Torino Film Festival, and Full Frame Documentary Film Festival. A few years later, when Pincus was diagnosed with Parkinson’s, he and Small began discussing possible film topics. But, it was not until late 2011, shortly after Pincus was diagnosed with MDS, (a precursor to Acute Myeloid Leukemia), when the former collaborators decided to make ONE CUT, ONE LIFE. Small and Pincus were able to complete most of the film together before his death on November 5, 2013.
Lucia Small (Co-director, Editor, Producer)
Lucia Small is a 20-year veteran independent filmmaker. In 2005, she teamed up with seminal documentarian Ed Pincus to co-direct, edit and produce THE AXE IN THE ATTIC (2007), a story about the Diaspora of Hurricane Katrina and the role of witness. The film had its world premiere at the New York Film Festival and screened at various festivals worldwide, including the Human Rights Watch International Film Festival, Cinema du Reel, Torino Film Festival, and Full Frame Documentary Film Festival. Distributed by Cinema Guild and IndiePix, THE AXE IN THE ATTIC was broadcast on the Documentary Channel.
Small’s directorial debut MY FATHER, THE GENIUS (2002), about her visionary architect father, garnered several top festival awards, including the Grand Jury Prizes for Best Documentary and Best Editing (edited by Karen Schmeer) at the Slamdance Film Festival, and a First Appearances nomination at International Documentary Film Festival Amsterdam (IDFA). Distributed by C.S. Associates and New Yorker Films, MY FATHER, THE GENIUS was broadcast internationally and domestically showcased on the Sundance Channel.
Small’s early film experience includes working in both narrative and non-fiction form. She produced several independent projects for ITVS, American Public Television, and PBS. Credits include: Katrina Brown’s TRACES OF THE TRADE, Laurel Chiten’s THE JEW IN THE LOTUS, Beth Harrington’s THE BLINKING MADONNA AND OTHER MIRACLES, Maureen Foley’s AMERICAN WAKE, Steven Kijak’s NEVER MET PICASSO, and John Junkerman’s THE MISSISSIPPI RIVER OF SONG. When Small is not directing and editing her own work, she edits documentary films, including Bruce Twickler’s BROADSIDE (2009) and Lyda Kuth’s the directorial debut LOVE AND OTHER ANXIETIES (2011).
Supported by the Sundance Institute Documentary Film Program and the LEF Foundation, ONE CUT, ONE LIFE (2014) was invited in 2013 as a work-in-progress to IFP’s Independent Feature Market and the Sundance Institute’s Documentary and Story Edit Labs. Small and Pincus were able to complete most of the film before his passing
in November 2013. She finished the film in April 2014 for its world premiere at the Full Frame Documentary Film Festival.
Mary Kerr (Producer)
Mary Kerr is a media arts professional who has been working in the fields of film festival programming, documentary producing, and arts administration for more than 15 years. Currently, she is Manager of Creative Capital’s Professional Development Program, which creates workshops designed to teach artists the tools and strategies to transform their careers. Prior to Creative Capital, she was the Executive Director of The Flaherty, producer of the annual Robert Flaherty Film Seminar, which encourages filmmakers and other artists to explore the potential of the moving image.
She began her media arts career as a film programmer, programming for the Sundance, Los Angeles, Gen Art, and Maryland Film Festivals, and in 2003, became Director of Programming for the SILVERDOCS: AFI/Discovery Channel Documentary Festival. She has served on funding panels for the NEA, NYSCA, ITVS, POV, Tribeca Gucci Fund; juries for the Ashland, Full Frame, Sarasota, US Comedy Arts, and Nordisk Panorama Film Festivals; and sits on the board of New York Film Video Council. She holds a B.S. in Journalism from University of Maryland and currently lives in Brooklyn, NY.
Danielle Morgan (Associate Editor, Assistant Producer)
An award-winning filmmaker, Danielle began by creating experimental narrative films on super8, editing in camera or with a splicer and tape. She went on to earn a masters degree in film at New York University’s Tisch School of the Arts where she was awarded a Graduate Assistant position in Editing and a Hollywood Foreign Press Award for her thesis film, DEADBEAT. A post-production professional living in Brooklyn, Danielle has collaborated with numerous award-winning filmmakers and organizations including Lynn Shelton, Guy Maddin, Laura Poitras, Killer films and Lincoln Center. She is currently working with her wife, actor/writer Katherine E. Scharhon, on their first feature, RULES FOR DROWNING.