On finding inspiration in quilt fever and pigeon shit
From Olivia Merrion
VCspotlight is an interview series with the documentary filmmakers and video journalists who comprise our global filmmaking collective.
Emmy-nominated documentary filmmaker Olivia Merrion got her start at NPR’s Tiny Desk Concerts and already has an Edward R. Murrow Award, a Gracie Award, and four Vimeo Staff Picks under her belt. Her most recent film, Quilt Fever, explores the annual (and epic) “Academy Awards of quilting” in Paducah, Kentucky. (It was, also, screened at one of our monthly gatherings, in New York.) In this week’s #VCspotlight, she shares her takeaways from a new pace of life in this pandemic and her patchwork of inspiration.
What has been the most surprising part of this whole period for you?
It’s been really heartwarming to see how different factions within the film world are banding together to try and help films affected by all of this. I can’t wait to get my hands on all the features and shorts that I wanted to see at SXSW. Then check out all the ones that were meant to premiere at Tribeca, Hot Docs, etc etc etc…
Where did you grow up? Where do you live now?
I grew up and went to college in Virginia. Right now, I live in Oakland, CA.
What was your first-ever job? What did you learn from it?
My first real video gig was an internship for NPR Music shooting/editing Tiny Desk Concerts and live concerts. It was a dreeeam position with a lot of super creative people, who were very inspiring and supportive. It was challenging, but I learned a lot in a very short amount of time and I can trace almost every job I’ve had since back to that internship. However, if we’re being technical, my first job ever ever ever was arranging fruit bouquets at Edible Arrangements. That job taught me that you cannot eat as much pineapple as you think you can, your mouth will actually start bleeding.
What was the first film or video that you worked on? What did you learn from it?
My first film was called The Farm Course, a 30 min doc about college student apprenticeships on farms throughout the Shenandoah Valley. Think A Simple Life, but with student production value peppered with a lot of terrifying text slides about the state of the American food system. The learning curve was huge. I made it with my partner, John Picklap, who I still make films with today. We used painter lights for interview lights, threw an audio recorder in the general direction of our subjects (and yes, half of the time getting it in the shot) and we did not understand proper file management. At one point, a drive crashed and we lost half of our footage. We were forced to learn the hard way, “less is more.” Back up your backups, people!
I know you had a film at SXSW and had to pivot– what has that process been like?
Like everyone is saying, it’s a strange time. For Quilt Fever specifically, I feel very fortunate because I was towards the end of my festival run and it was already scheduled to be released with PBS online the day of my final SXSW screening. Plus, it’s a short not a feature. It’s hard to comment on what I missed out on, because it would have been my first SXSW experience, so I really have nothing to compare it to, however, I’m sad the film will never screen in front of those audiences.
Any habits/traditions/changes from this time period that you’d like to maintain going forward?
Overall, I find this new pace difficult honestly. I’d like to say I’ve learned about how to be more still, make myself more centered, yada yada. But I don’t really think that’s true. I miss other people. One thing I would like to keep doing going forward is making a point of calling friends that live far away regularly. I’ve loved that part of this.
Can you share a still from your favorite project?
In 2016, I followed artist Duke Riley for months as he completed his massive art project involving thousands of trained pigeons flying off of a decommissioned naval boat with lights attached to them. I watched as Duke and his team put so much work into the project: going to pigeon auctions, getting the lights right, training the birds, etc. This still is from closing night when Duke started calling the birds back to the boat for the final time. Of course, it was a special moment for Duke and his team, but standing there, jeans caked in pigeon shit, it was special for me too.
What inspires you?
I’m a little all over the place with inspiration, which I think is great and how I believe it is for most people. I like watching narrative films and thinking: how could this style be done in documentary? Could it be done? One artist I’ve specifically been in love as of late is painter Christina Quarles . Her work just makes ya feel! It’s so incredible.
Are there other resources or communities that VC members should know about?
On the editing side of things, I think Blue Collar Post Collective is a great resource. For directing, one thing I wish I had known about when I was still eligible is Sundance Ignite (you need to be 18–25 to apply).
What’s one thing in your work bag that you can’t live without and why?
Quite simply: a hair tie. I have them in every single pocket in every single bag on a shoot. People with long hair know what I’m talking about!
Is there a question that you’d be curious to know about other members?
Is there ever a film you started but still have not finished? Not something you’re actively working on, but what’s on the furthest back-burner of your back-burners?
