In 1961, Clarence Earl Gideon was arrested for stealing soda and a few dollars from a pool hall. Unable to afford an attorney, he was convicted after representing himself at trial. Gideon appealed his conviction to the Supreme Court, which ruled unanimously that the right to counsel in a criminal case is fundamental to the American system of justice.nnMore than 12 million people are arrested in the United States each year. Fiftyyears after the landmark Gideon v. Wainwright case, most of them will be represented by one of the United States’ 15,000 public defenders.nnDirected by attorney Dawn Porter and winner of the 2013 Sundance Film Festival Editing Award for U.S. Documentary Competition, GIDEON’S ARMY follows a group of idealistic young public defenders in the Deep South, where lawyers face particularly difficult challenges due to high bonds, minimum mandatory sentencing and a culture that is traditionally “tough on crime.” The thought-provoking film debuts MONDAY, JULY 1 (9:00-10:45 p.m. ET/PT), exclusively on HBO.nn
nnOther HBO playdates: July 1 (5:20 a.m.), 7 (1:05 p.m.), 9 (4:00 p.m., 12:15 a.m.), 13 (9:45 a.m.) and 19 (8:15 a.m.)nnHBO2 playdate: July 3 (11:15 a.m., 8:00 p.m.)nnHBO Documentary Films presents another weekly series this summer, debuting provocative new specials every Monday through August 12. Other July films include: “Gasland Part II” (July 8); “The Crash Reel” (July 15); “The Cheshire Murders” (July 24); and “First Comes Love” (July 29).nnBrandy Alexander, Travis Williams and June Hardwick have dedicated themselves to defending those who otherwise would not receive representation, contending with a day-to-day life of low pay, long hours and staggering caseloads. Despite these obstacles, with the help of the Southern Public Defender Training Center (SPDTC), these young professionals are inspired to take on this unique challenge in the name of public service.nnTravis Williams is a Gainesville, Ga. lawyer whose client, Branden Lee Mullin, has been accused of armed robbery and faces a minimum of ten years to a maximum of life in prison. Brandy Alexander has served as a public defender in both Georgia and Florida and is preparing to go to trial on behalf of her client, Demontes Regary Wright, a young man also charged with armed robbery.nnThe demands on these public defenders can be overwhelming: The average caseload for a public defender in Miami Dade County, Fla. is 500 felonies and 225 misdemeanors. Not surprisingly, many public defender offices across the nation have an incredibly high turnover rate. The pace is exhausting, and the legal wrangling intense, but these young public defenders persevere. Knowing the stakes are high – and their clients’ lives will be deeply affected by what they do, or fail to do – they push themselves to the limit over and over again.nnDoes their work have to be this difficult? Experts cite the nation’s approach to criminal justice to explain the dire state of indigent defense. In many southern states, bonds for misdemeanor crimes are exorbitantly high, as much as $40,000 for misdemeanor crimes like shoplifting, which most defendants cannot afford. This leads to a high rate of pretrial detention for indigent clients, with many serving months or even years in prison without a trial. Another factor is the rate of plea bargaining intended simply to end pretrial detention. Notes Brett Willis, a senior public defender featured in the film, “The reality is 90% or 95% of the people who get charged with something plead guilty…because the system is designed to force them to plead guilty and it punishes their failure to comply.”nnIn addition to lengthy prison sentences, clients found guilty can face severe civil sanctions, which can result in such extreme punishments as: losing el
TRILOGY FILMS Contact Trilogy Films via email (973) 744-0856 www.trilogy-films.com
Who Needs Los Angeles? We Do.
One doesn't have to be a statistician to know that there are fewer commercials being shot in the U.S. today for the American market than ever before, and a dramatic decrease in L.A. in particular. In the last five years, as reported by FilmLA (the office tasked with issuing permits), L.A. commercial production has dipped 31 percent. But here’s the thing: This doesn’t mean that L.A. has lost its importance as the production center of the world. Production in L.A. is vital. It is the go-to. It’s where you can count on access to exemplary crews, a support infrastructure second to none, varied location and backlot options, a large population of on-screen talent and (fairly) predictable weather. The fact is, with overall decline and now the devastation of the fires, we’re on the brink of losing this mainstay resource. Without employment opportunities and now many without homes, talented and trained crew are bound to leave either the industry or the LA area for other opportunities, unless there are enough job opportunities to sustain a solid living. Now is the time when we ALL must support and bolster this community. Production is needed in L.A., now! Of course, advertising is a business, and marketers’ money should be spent as efficiently as possible, BUT we have to think beyond each production and know that if we lose the incredible resource of L.A. production as we know it, then marketers, agencies and the industry loses in the long run. Over the past several days, some agencies have issued directives to production companies that are unilaterally pushing upcoming production options out of L.A. The fact is L.A. is a large area, and many sections of the city and county are not directly impacted... Read More