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‘Where Soldiers Come From’ Mural-in-Progress – Day 4 with Dom

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The National Veterans Art Museum is honoring Memorial Day 2012 with the opening of a new mural installation, “War Made A New Me,” by Dominic (Dom) Fredianelli, one of the subjects of Where Soldiers Come From (POV 2011). Dom is in one of the museum galleries all week working on the mural before it is unveiled this Saturday, May 26 along with a film screening and artist’s talk. Check out his progress throughout the week here on the POV Blog.

Today, the National Veterans Art Museum shares a few photos from their Facebook album “War Made A New Me” – A Work in Progress

The paint pens are in three different widths, so Dominic can play with density and shadow, helping create the illusion of dimensionality.

Dominic works from sketches of the figures in the mural, taping them to the wall.


The soldier's mother.

Dominic has set up an area with painting supplies and his muse: music.

POV Guest Blogger
POV Guest Blogger
POV (a cinema term for "point of view") is television's longest-running showcase for independent non-fiction films. POV premieres 14-16 of the best, boldest and most innovative programs every year on PBS. Since 1988, POV has presented over 300 films to public television audiences across the country. POV films are known for their intimacy, their unforgettable storytelling and their timeliness, putting a human face on contemporary social issues.
  • Vito

    LA Times did a lot of digging to track down members of the Academy. The results: only 2% are under 40 years old, 96% are white, and 77% are male.

    I’m sure that they can all appreciate good work, but it is not outside the scope of the imagination that one specific demographic would be partial to films and topics made by its peers.

    • Tom Roston

      wow, i knew it skewed that way, but not to that degree.

  • Tom Roston

    Yes: I made a colossal error in not mentioning that three (THREE!) of the films have women producers who have been nominated this year. They may not be the directors but they are nominees nonetheless. Full correction, and apology, to come tomorrow.

  • Heidi Millay

    Love this conversation. I work at First Run – over one third of the docs we released last year were directed or co-directed by women (and if you include producers, which I would if I had the info in front of me, that percentage skyrockets). So I’m not sure the problem *necessarily* lies in, or is confined to, the area of sales/distribution.

    Also, as an aside, 40% of our staffers are women (and I’ve seen it be as high as 60% in my 8+ years here), so even though our president is a man, I wouldn’t say that means we (as a distributor) are “controlled by men.” We all have a say in acquisitions. I’m sure it’s not that way everywhere, but I’m pleased to say it is here.

  • Wendy Levy

    So glad this discussion is happening. Tom, thanks for the data that informs your pov. It is startling and not at all surprising. I don’t get nearly as upset that women aren’t nominated for Academy Awards, since so many of the best films and performances go unrewarded, as I do about the boys club that makes the rules and perpetuates the exclusion. As Annie also notes, more women in positions of influence in the industry will result in a more equitable culture. It’s not just that we need more women sales agents (we do). And not just that we need more badass women producers and directors (we do) – and they deserve more awards for sure — but ultimately and immediately, we need smart women heads of companies, decision-makers, bankers, visionary industry thinkers with clout — who intentionally defy the paternalistic boundaries that exclude women and people of color, valuing profit over substance and meaning, refusing to mentor and take real risks with emerging artists, and instead, parachute in like a hero to buy the work think will line their pockets most.

    I could go on, but always appreciate the opportunity to raise a little hell.

  • Aga

    hire a fiftish guy in a courdory suit? why? because people like stories to be told. A story of a filmmaker features some corduroy and a fiftyish male. Don’t fight the system – use it. I’ts the only way. And also – do some didactic asswhooping

  • Beatriz Jean Wallace

    I am so grateful that you wrote this article. I think about these issues ALL the time – when I’m running, eating Sunday breakfast, practicing yoga… It’s hard to shake. As a professor of documentary film, and a filmmaker myself, I SO value this validation and public attention to a quantitatively measurable, and measured problem.

  • Tom Roston

    The sales agent factor was on my mind, but I didn’t mention it, because I could have said that Submarine and Cinetic dominate (both run by men), but didn’t have much else. Thanks for this report from the trenches.

  • mwblock

    Sales agents don’t sell the film–the film sells the film. Audiences don’t care who directed or produced the film only if they liked the film. Since filmmaking is a business, the business doesn’t care about the gender of the filmmaker only how successful their film is commercially or how many people watch it or buy it. No distributor or television exec turned down a work that would make money or get viewers because of the sex of the director. Films box office or viewership is a function of their content not the gender of their creator. It strikes me that when directors make more commercial films they work more. Both of the Academy Award nominated films I produced/executive produced were directed by women. (One won an Oscar.) Finally, the doc branch of the Academy is almost 40% women. They nominate the docs. With preferential voting they (and all voters) have a lot of power to get films short listed and then nominated. So I don’t think one can now blame “the Academy” for the results.