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The Story of the New Orleans Greys

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The Story of the New Orleans Greys NO QUARTER: THE STORY OF THE NEW ORLEANS GREYS Travis S. Barnes Thesis Prepared for the Degree of MASTER OF FINE ARTS UNIVERSITY OF NORTH TEXAS December 2015 APPROVED: Melinda Levin, Major Professor Ben Levin, Committee Member Richard McCaslin, Committee Member Alan Albarran, Chair of the Department of Radio, Television, and Film Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Barnes, Travis S. "No Quarter: The Story of the New Orleans Greys." Master of Fine Arts (Documentary Film Production and Studies), December 2015, 83 pp., 9 figures, bibliography, 33 titles. The purpose of this thesis document is to explain the process of making the documentary film, No Quarter: The Story of the New Orleans Greys. The document is organized by having the prospectus and the film proposal at the beginning, with the body describing how the film was made based on the prospectus. The purpose of the film is to tell the history of a unit of volunteers in the Texas Revolution, the New Orleans Greys. The document describes the methods used to make the film and how it will be distributed to the intended audience. As the thesis explains, the film changed slightly from the prospectus, however the resulting film was successful in telling the history of the little-known New Orleans Greys. Copyright 2015 By Travis S. Barnes ii TABLE OF CONTENTS Page LIST OF IMAGES AND ILLUSTRATIONS .................................................................... VII Chapters 1. PROSPECTUS ......................................................................................................... 1 Introduction and Description ............................................................ 1 Film Treatment ................................................................................. 2 Feasibility Concerns ....................................................................... 12 Goals of the Production .................................................................. 13 Target Audience ............................................................................. 13 Style and Approach ........................................................................ 13 Characters and Locations .............................................................. 14 Equipment ...................................................................................... 15 Theory Application ......................................................................... 15 Distribution ..................................................................................... 16 Research ........................................................................................ 17 Production Schedule ...................................................................... 19 Financing ........................................................................................ 20 Proposed Budget ........................................................................... 20 2. PREPRODUCTION RESEARCH ........................................................................... 23 Subject Matter Research ................................................................ 23 People and Location Research ...................................................... 24 Funding .......................................................................................... 27 iii Distribution Possibilities, Audience ................................................ 28 Goals of the Production .................................................................. 31 3. RECONCEPTUALIZATION OF FILM BEFORE PRODUCTION ............................ 34 4. THE INTEGRATION OF THEORY AND PRODUCTION ....................................... 35 Theories and Rationales for Use .................................................... 35 Narration Style and Approach ........................................................ 37 Cinematography Style and Approach ............................................ 43 Illustrations Style and Approach ..................................................... 49 Editing Style and Approach ............................................................ 50 Audio Style and Approach .............................................................. 56 Review of Additional Texts for Research ....................................... 57 5. PRODUCTION ....................................................................................................... 59 Overview ........................................................................................ 59 Schedule ........................................................................................ 60 Crew ............................................................................................... 60 Equipment ...................................................................................... 61 Releases, Copyright and License Agreements .............................. 62 6. POSTPRODUCTION .............................................................................................. 63 Schedule ........................................................................................ 63 Equipment ...................................................................................... 63 Reconceptualization of Film During Postproduction ...................... 63 7. EVALUATION OF COMPLETED WORK ............................................................... 66 iv Preproduction .......................................................................................... 66 Production ................................................................................................ 66 Postproduction ......................................................................................... 67 Success in Integrating Proposed Theories .............................................. 68 Appendices A. PRODUCTION SCHEDULE ............................................................................... 75 B. RELEASES AND LICENSING AGREEMENTS .................................................. 78 C. BUDGET ............................................................................................................ 80 BIBLIOGRAPHY ........................................................................................................... 84 iv LIST OF IMAGES AND ILLUSTRATIONS Page 1. STONE BASTION .................................................................................................. 69 2. ILLUSTRATION OF NEW ORLEANS GREYS ....................................................... 70 3. NEW ORLEANS GREYS IN COMBAT 01 ............................................................. 70 4. NEW ORLEANS GREYS IN COMBAT 02 ............................................................. 71 5. SHOT A, OPENING SEQUENCE .......................................................................... 71 6. SHOT B, OPENING SEQUENCE .......................................................................... 72 7. SHOT A, CLOSING SEQUENCE ........................................................................... 72 8. SHOT B, CLOSING SEQUENCE ........................................................................... 73 9. RICHARD JACKSON RELEASE FORM ................................................................ 76 vi CHAPTER 1 PROSPECTUS Title: No Quarter: The Story of The New Orleans Greys Length: 20 min Medium: HD Video Introduction and Description The New Orleans Greys were a privately funded military unit, comprised mostly of volunteers from the United States and Europe, which served in the Texas Revolution against Mexico in 1835-36. As the film will explain, the Greys could be viewed as freedom fighters, insurgents, or mercenaries depending on one’s point of view. This story will follow the trail of the Greys from their formation in Louisiana to their eventual destruction in Texas at the hands of the Mexican Army. The motivations of Americans coming into Mexican Texas were numerous. Most settlers were law-abiding citizens who agreed to follow Mexican law. However, the Texas Revolution was instigated by a small number of men who sought to sway the political winds and business conditions in their favor, including the trading of slaves. (Hardin, 6) In 1829 the Guerrero Decree conditionally abolished slavery throughout Mexican territories. It was a decision that increased tensions with slaveholders among the Anglo-Americans, as the demand for slave labor in Texas was very high. Thus, the issue of slavery was one of high contention between the Anglo-American settlers and the Mexican government. (Barr, 14) Other conflicts erupted over taxes and political representation, as the Mexican 1 Government had become increasingly centralized under President Antonio Lopez de Santa Anna, whose rejection of the constitution of 1824 conflicted with the ideals of the independent minded, largely self-governing settlers from the United States. (Hardin, 13) The business and political leaders in Texas who were most affected by these conflicts were the very ones who instigated the rebellion. Texas leaders secured support from opportunistic parties in the US who sought to profit from Texas industry and possible statehood, eventually turning a business and political debate into a shooting war. The goals of the Texians were varied, some wanted a return to the Constitution of 1824, some wanted a stronger Mexican state, and others wanted Texas to become part of the expanding United States. The Greys, all volunteers, entered the conflict after the shooting had started. Their purpose was to take the small fight over taxes, slavery, and representation
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