Tag Archives: environment

Morgan Spurlock on Super Size Me 2: Holy Chicken

Interview, , , , , , , ,

Fifteen years ago Morgan Spurlock burst into cinemas with the ultimate adventure in immersive documentary: he spent a month eating McDonald’s. The resulting film, Super Size Me, made him an enduring household name – to this day, my twenty year old students know who he is.

While in the intervening years he has directed and overseen a raft of nonfiction programming, Spurlock hasn’t returned to the world of fast food until recently. In Super Size Me 2: Holy Chicken he investigates the dishonesty behind the massive chicken fast food industry. By becoming a chicken shop owner himself, Spurlock shines a light on the endemic cruelties in mass chicken rearing, the shocking way farmers are treated, and how the fast food industry has employed an enormous bag of tricks to fool people into thinking that chicken is a healthy choice.

Not long after its world premiere at the Toronto International Film Festival in 2017, Spurlock outed himself in a blog as guilty of sexually inappropriate behaviour and part of the #MeToo problem. The resulting furore led to the pulling of the film from the Sundance lineup and the shutting down of his 65-strong production company Warrior Poets.

Two years on, Super Size Me 2 has been picked up for distribution by Samuel Goldwyn Films, and Spurlock is back in the public gaze. I spoke to him via FaceTime about the journey he’s been on.

As usual, this interview has been edited for length and clarity.

Carol Nahra: I can’t really think of someone who is so well known based off of one film, in terms of Supersize Me making you into such a household name. Is that both a blessing and a curse? What was it like for you going into this project as Morgan Spurlock?

Morgan Spurlock: The minute you call up, certain people know who you are. Or the minute you make the second phone call they’ll know who you are and will have questions about it. It’s a blessing because it opens a lot of doors; it’s a curse because it closes a lot of doors (laughs). You have to lean into the upside of the doors that are actually opened. I think that I’ve always been able to do what I do because I’m blessed with great field producers who are able to go out and be the boots on the ground and it doesn’t have to be me all the time.

CN: Am wondering at what point this became Super Size Me 2?

MS: We were always going to call this Super Size Me 2. But the whole time we were doing it we just called ourselves Chicken just so that it was never tied to me or the other film in an overt way. But it was always going to be Super Size Me 2.

CN: Why was that? You have done a fair number of films in between. Why this one – obviously it’s the same terrain in terms of fast food but it’s not otherwise at all similar in structure to Super Size Me. So what was your thinking there?

MS: I think cause it is so very much a look into the fast food industry and the impact that’s had on how we eat and how we live. Especially because the door got opened by me getting a letter from Hardees wanting me to come be in their commercial, which I thought was the most ridiculous thing ever.

Spurlock on the farm

CN: Did you at any point think “I’m going to spend a month eating chicken”?

MS: I knew I was going to eat a lot of chicken but I knew I didn’t want to do that same type of thing. I knew that just going into a place and just eating the food wasn’t the story. Especially once we got into the greenwashing of it, and understanding the journey was going to show where most meat on the planet comes from. We eat 50 billion chickens a year – how do they get from the egg to your plate? And telling that journey.

I was like a lot of people – I thought if you’re still a farmer in the United States that you are doing something to really survive and do well. You’re somehow working the system in a way that is enabling you to thrive. And I hadn’t really understood the level of indentured servitude these guys are going through.

CN: Looking back at the years since the original film came out, how do you think the appetite for nonfiction storytelling has changed?

MS: Oh my gosh, well Americans finally woke up and realised it was a great way to watch movies and tell stories! It was fantastic. American audiences finally caught up with European audiences and suddenly you could see them on primetime television, thanks to HBO, Netflix and Showtime. There has been this great kind of normalisation and commodification of nonfiction which has been awesome. And I think that people finally saw that these can be as compelling, as entertaining, as rich a tapestry as a scripted project. And that’s been fantastic for filmmakers, period. No matter where you are around the world it’s been fantastic for nonfiction filmmakers. And I think that it continues to grow. We’re in this amazing time for television now where I don’t think there has been better television being made. I don’t think there has been a time where there has been better nonfiction being made. So it is a golden age across the board I feel now.

CN: What are your plans for Super Size Me 2: Holy Chicken? I understand the gap that you’ve had and why you’ve had this gap. Are you able to pick up the momentum of where you left off in your plans to tackle the chicken industry?

MS: Well, luckily on the heels of the film opening up we did a pop up of the Holy chicken restaurant in NYC. We had an investor group who came on who wanted to get behind the restaurant and turn them into permanent locations. So the goal is to continue to use the momentum of the film and the momentum of the story to start to open these locations which continue to tell a conversation to folks. The film does a great job of opening the door. These people getting to actually sit in a restaurant and actually meet their chicken farmer and eat a sandwich and understanding in a deeper level where that food is coming from is transformative. So the more that I can slowly roll these out around the country will be amazing. And I think we can still do that.

Image result for super size me
The original Super Size Me

CN: And what would be your best outcome for this in terms of the chicken industry?

MS: The goal from the beginning and the goal moving forward is if I can create more independent chicken farmers – right now one percent of the chicken we buy in the United States comes from independent chicken farmers – 99 percent comes from these giant mega chicken corporations. So, if I can create one percent more independent chicken farmers; so they are not under the thumb of Tyson, Purdue, Cook Food, Sanderson, then that’s a pretty great accomplishment. So, for me it’s how can I empower more of those guys to not feel stuck in these situations where they are not making a living, not making any money, living hundreds sometimes millions of dollars in debt, then I think we’ll be on the right track.

CN: Finally I wanted to ask you a little bit about what it’s like for you now not having the big production company. What’s it like for you moving now more freely, whether or not you would have liked the circumstances behind which it came about?

MS: Yeah well it’s another one of those things where it’s a blessing and a curse. It’s a blessing because suddenly, as you said, to not have all that infrastructure and have to deal with the support to make payroll for 65 people every two weeks – that’s a stressful, stressful burden. For that suddenly to be gone is awesome. But at the same time to kind of lose that support system of development, of production, of editorial, so suddenly it goes back to being a one man band…I’m literally back to my roots, what do I want to do, what stories do I want to tell? It’s great but to go from a place where I can chase so many different things at once, it’s hard to kind of go back to thinking I can now only chase one or two things at a time.

CN: Because you are a personal documentary maker, have you thought about doing any kind of personal film around the #MeToo movement?

MS: I’ve been asked by a few different folks about doing that, and it’s something that…you know, I’ve been approached but nothing has made me want to tell that story right now. There are other things I’d rather talk about.

SUPER SIZE ME 2: HOLY CHICKEN! is released on iTunes and On Demand from 9th December 2019

Preview: Global Health Film Festival 2018

festival, Interview, previews, , , , , , , , ,

While Donald Trump refuses to accept climate change as a reality, it doesn’t take a stable genius to understand that we are all interconnected. And most of us now also grasp that the damage that we are doing to the environment is in turn having a very real impact on human health — the study of this is known as Planetary Health. Next week’s Global Health Film Festival will award a £10,000 Planetary Health prize to a film to help it achieve impact – getting it in front of those who need to see it the most. The subjects of the four films up for the award range from the Ebola pandemic, to chemical pollution in the US, plastic pollution in the Pacific Ocean and an agrarian crisis in India.

 

Survivors focuses on the Ebola pandemic

Throughout its programming the Global Health Film Festival focuses on the interconnectivity of the human experience. When I attended the festival last year – its third edition – I was really blown away by the atmosphere (as I enthused in the below highlights reel). A stimulating, diverse range of health professionals, journalists, filmmakers and students descended on the Barbican for two days. In a single afternoon I went from attending an NHS session fronted by Jon Snow to immersing myself in fascinating VR installations, to watching a film I still think about, twelve months on.

 

The festival’s fourth edition kicks off next weekend.  Transferring to Bloomsbury with the Wellcome Collection as its hub, it promises to be equally engrossing and inclusive, with a number of intriguing themes. According to Festival Director Gerri McHugh, in addition to the planetary health strand, this year’s programme highlights the lack of access to healthcare throughout the world. “Inequity in health care is not just a developing world issue. There is poverty and hunger and exclusion in every city in the UK and just about any part of the world,” she says.  “Some of those inequities in the developed world are actually far harder to tackle than the inequities that we have in the developing world. They’re quite hidden – society hides them.” A related theme is how belief systems interact with health choices.

Global Health Films Director Gerri McHugh

The US comes under particular scrutiny in the programme. No Greater Law features a sheriff in Idaho determined to try to get a law changed that allows a group of evangelicals to refuse any health treatments for their ailing children – even as the bodies mount in their graveyard. A short, Restoring Dignity, will look at period poverty amongst teenagers in the US – something which should resonate with a group of American high school students attending the festival. Their inclusion is a deliberate attempt to broaden the range of delegates.  “Often in a meeting like this the demographic breaks down to the giants and leaders in the industry and then the early career professionals,” says McHugh. “And whilst we have quite a lot of that in the film festival we also want to plug the gaps in between. So we’re increasingly bringing in mid career professionals but also increasingly a focus on even younger people. We have a collaboration with Brookline High School in Boston, Massachusetts, who bring a class of 16-18 year olds to London specifically for the film festival every year. We work hard to involve them as much as we can in all different parts of the programme.”

Another timely theme of the two-day festival is unresolved trauma, mental health and post traumatic stress disorder. On Sunday, 9 December I’ll be chairing a panel following a screening of Evelyn, in which Oscar-winning director Orlando von Einsiedel probes the long ignored impact of his brother’s suicide on his family more than a decade ago.

 

The festival will again have a strong focus on virtual reality, in partnership with Crossover Labs. A number of installations echo the themes of Evelyn.  When Dan Hett lost his brother in the Manchester Arena attack, he used his skills as a game developer to create The Loss Levels as a way to document and share his experience.  Homestay places viewers amongst a Canadian family mourning the loss of their exchange student, while Is Anna OK? considers the experiences of two sisters, one of whom suffers from traumatic brain injury.

The Global Health Film Festival takes place Saturday, December 8 – Sunday, December 9. The festival sells day passes; some single tickets to screenings are available.