60 Seconds With...
Filmmaker Sybil Robson-Orr
Film-anthropy
Sybil Robson-Orr is one of dozens of emerging, New-Wave film documentarians
on the front lines of cause advocacy today. Her new film, Blindsight, which debuted nationally March 5, tells the story of six blind Tibetan teenagers who set out on a three-week journey to climb Mount Everest with Erik Weihenmayer, a blind mountaineer who serves as their guide. Some 20 percent of profits made from the film will be donated by Robson-Orr to Braille Without Borders, the nonprofit at the heart of the film that works to help the Tibetan region’s blind children—one of the most socially shunned groups in Tibetan society. Some 30,000 of the 2.5 million children and adults living in the Tibetan Autonomous Region are blind—a much higher percentage than in most other areas of the world. Contribute’s Cristina Maldonado recently caught up with Robson-Orr to discuss the filmmaker’s work. What follows is an edited transcript of that interview.
What motivated you to make Blindsight?
Erik Weihenmayer, the only blind person to ever get to the top of Everest, contacted [Hollywood film producer] Steven Haft [Dead Poets Society], a friend of mine, because Erik felt Steven would be a good link for filmmakers interested in making this particular movie. Steven knew that I met my husband climbing Mt. Kilimanjaro, and I’m also a filmmaker. He knew I would clearly be interested in Tibet, and so he put the three of us together.
What about this subject matter inspired you the most?
Erik told me a story about Sabriye Tenberken, a blind woman from Germany who established the only school for the blind in Tibet. Mt. Everest is considered to be a holy mountain in Tibet, and these kids were very excited that Erik had reached the Summit. Sabriye wrote an impassioned email to Erik, and Erik was so moved by it, he decided to bring his Everest climbing team with him to Tibet and take six of Sabriye’s most motivated kids on an expedition. Erik said he felt this would be a great way to instill confidence in these kids, who had been completely shunned by society and given no hope for being a contributing member of their families or their villages.
At one point in the film, some of the children start suffering from mild altitude sickness, and Sabriye struggles over whether to let the expedition continue. She eventually decides, though, to keep the group together, saying it has an obligation to “look out for the weak.” This seemed so apt: philanthropy, much of it, is all about fulfilling that obligation, isn’t it?
The film is really about two blind people with the same goal, but with very different ways of reaching it. Sabriye was in conflict with Erik because Erik is a mountain climber. He’s very driven and he uses his drive to get to the top. Sabriye, on the other hand, felt these kids had already climbed their mountains and just really wanted them to have a chance to have some fun and adventure. She felt that a team is only as strong as its weakest link, and you can’t let that link fall by the wayside for the sake of some artificial glory. And it caused great conflict on the mountain but also helped to make the film compelling.
When you’re approached with a film project like this one, are you thinking like a producer or a humanitarian?
Both. I’m interested in stories about underdogs overcoming great obstacles. This was an opportunity to tell that story, both about Erik Weihenmayer, and also about kids who have been given no hope in life. I was intrigued by how these kids might be able to incorporate into their lives some of what Erik has learned in his life about hope and perseverance. I thought the potential for transformation in these kids’ lives from being with Erik on this type of journey would be huge.
How forceful a venue for change is documentary film?
It is a hugely powerful medium, of course, but it also now offers companies a chance to attach themselves to a philanthropic project at the same time it offers them a chance to align themselves with well-made films. Distribution is a big issue because there are a lot of films out there that are not being picked up. Some really wonderful films are put into the too-difficult-to-distribute pile by distribution companies, which is why we’re about ready to launch a new distribution company aimed at finding more of these types of films—as well as dollars from corporations wishing to partner with film companies to get the word out about various causes. We, for example, have had a number of companies—from Merrill Lynch to TIAA-CREF—to fund premieres of this film. Companies are finding that this can be a great way not only to support charity but also to offer clients with a nice night out. In the course of it all, I have the ability to hold fundraisers for Braille Without Borders, for example, with Blindsight, at these premiere events.
How did you first become involved in efforts to make a difference?
It was a natural part of my growing up. My parents were very conscious and always sensitive to the needs of the community, and I really have to tribute them for bringing me up that way.
I particularly like to contribute to organizations when I know where the money’s going, and when I know that the money is not just going to fund well-cushioned (executive) positions.
I think there is a great mystery about philanthropy. Check-writing is important, but it can be socially dangerous as well because it allows you to socially write off your consciousness rather than force you to dig a little bit to find out how much charities are really giving to the cause versus paying fundraisers to help them raise money.
I have contributed to many organizations over many years, but the most satisfying experiences I’ve ever had in philanthropy are when I become personally involved.
What message do you hope to convey to audiences who watch Blindsight?
I think Blindsight makes us all realize our own potential and how we can get in the way of ourselves. When you see what these kids have done, completely ostracized by their culture and given no hope, it reminds us all what is possible for our own lives. I want my films to bring awareness to (worthy charitable) organizations and to help raise funds for those in need.
