Risks and challenges
During filming, I relied completely on myself to approach these performers and gain their trust. I have now passed this stage; getting to know the bigger characters within the subculture and showing them what potential can be harnessed by our working together. I recently spoke to one of the most talented subway dancers in the scene, who, along with his crew, is keen to work with me on the next film. Showing these dancers my work and what I hope to achieve, regarding this new law, I have been in contact with many who are increasingly keen on becoming involved. Although I am currently relying on a verbal promise from these performers, to participate in the film, the correspondence I have achieved with them so far has made me very confident that there will be key figures involved in the film.
The reasoning behind this project is to illustrate what effect Section 1050.6(c) may have on this part of New York City’s street culture. Because of the recent efforts to enforce this law on a more regular basis, I cannot predict what will happen whilst filming with regards to arrests. I can also not predict how the police will respond to myself if present and filming; whether they will take the footage or even take further action. I have looked into these risks and have accepted them as part of the process, although if I am unfortunate enough to find myself in this situation, footage may potentially be lost. If it begins to happen on a regular basis I will reassess the process of filming and locations and work the film around this. This said, having a camera present will not encourage the dancers to do anything out of the ordinary, as their performances are their livelihood and continue on with or without photo-documentation.
After recently contacting one of the performers to get an update on the current situation, he informed me very few people are dancing on the subway cars anymore. It appears that within three months huge changes have occurred, and dancers have been forced to stop. Despite this I plan to push the film as far as possible, exploring the effects the law has had, and hopefully capture one last bit of dancing in the cars themselves.
I have decided to approach the entire project in sections, using this first campaign to fund costs for the equipment rental. I feel by doing this, and by working on it through stages, there is less risk of major issues occurring. This way I will be able to judge how successful the filming goes, and decide from their whether or not to produce the film myself, or start another campaign to help fund the videos production.
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