Cutting Room

In Their Own Words 2011 Update

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The past three years have been busy, so much so that we must be excused for the lack of update. Since we last wrote, we have made three films, graduated from high school, and been featured at our very first film festival outside the U.S. We have also temporarily relocated. We write from the far distant lands of Taiwan (Sarah) and Belgium (Emma). We miss our Arkansas (and our family, but we try not to give them a big head by telling them that), but are having too much fun to miss it too much. Don't worry; we haven't been neglecting our filmmaking, as you will see for yourself in a little less than a year. Project Lingua Franca should hit the theaters sometime around August 2012 and that's all we have to say about that. In the interest of time, we'll spare you all the details of all our exploits these past years and will just hit the highlights.

The ill-fated documentary hinted at above never materialized due to a lack of information. We had never let a topic beat us like that before, but eleventh grade was busier than tenth and perhaps we were loosing our touch. We searched for months to find the minutes for the committee, but they seemed to have disappeared. Two years later at a presentation at the University of Fayetteville, we finally found out what happened to them. One of the archivists at the University library bought them at a garage sale a few months before we started looking for them but was on vacation the day we came to the library researching the committee. We briefly considered returning to the topic, but decided we didn't have the time. Perhaps one day we will. 

In the middle of our eleventh grade year at Central, our history teacher came to us with a request. Would we please film the visit of Israeli peace activist, Gila Svirsky, when she came to Arkansas that spring? Film festival deadlines fast approaching and censorship committee documentary in ruins, we jumped at the opportunity. We decided to be more creative with this film than our others and attempted to make a "narrative documentary." It was fun being able to tell people what to say and how to act finally, but the combination of inadequate equipment, lack of experience, and our usual struggle with sound made the film less than noteworthy. It was aired as part of AETN's Student Selects, but broke our winning streak at the T Tauri Film Festival. After that disappointment, we didn't submit Meet You in Jerusalem to any other film festivals and have done our best to bury it in our resume. We also produced another short film for the Wolfe Street Foundation. We turned it into a music video for the Johnny Cash song "Walk the Line" and after the disaster of Jerusalem, it was a much-needed distraction.

Senior year we decided was too important to our future to spend time making another film. Between college applications, final SAT/ACT tests, and whatever else might happen between the first day of school and graduation, we were all ready to retire our film cameras for good. Fate (and by fate we mean our parents) had something else in mind, however. Our father was asked to curate an exhibition of Arkansas art for the Winthrop Rockefeller Foundation's Legacy weekend. Being the great supporter of our work that he is, he volunteered our services to document the exhibit for posterity's sake. College applications now submitted and grade point average safely secured, we had no excuse. What was meant to take only our one-week spring break turned into over three months of car trips, thirty interviews, and a solid month at the editing chair. But besides being long, hard, and the biggest single undertaking of our career, it was probably the most fun we've had on a film since we started (but if our father asks, it was only "okay".) Over the years, filmmaking had become a routine for us-- Sarah doing most of the pre-production, Emma practically glued to the editing chair during post. This gave us a chance to reconnect, both with each other and with our father. Everyone we met was so supportive and their insights into their work and their world was fascinating. Never have we been more proud to be Arkansan than we were then. It was the perfect way to say thank you and goodbye before our grand adventure overseas.

ARtists was completed too late for most of our regular film festivals, but we still have high hopes for it in the many new ones we have and will submit it to. We believe it bodes well that the first award to its name is our first official international film festival: the WorldKids Film Festival in Mumbai.

Meanwhile, while ARtists works its way around the globe (we hope), the next five years are set for us. All that time we didn't spend working on our films has paid off and in addition to our Rotary fellowships, we have both been accepted into our dream college, Wellesley. Together we will join the class of 2016 next fall. Emma plans to major in psychology and Sarah, camera and media studies with an emphasis on film history and film analysis.

Until next time, au revoir and
再見

ARtists: A Conversation Trivia

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  • Sarah was not the primary interviewer for the film. This has only happened once before, with their first production, Separate But Equal. Instead the twins’ father, David Bailin, who has assisted them on all of their previous productions, filled that position. As an artist himself, the twins felt that he would be able to connect better with the interview subjects, or as they put it “he speaks fluent Art-ese.”


  • The original idea for the film was to have it more as a “conversation over coffee” than as a more traditional documentary. This was done for two reasons. One, the filmmakers were experimenting with a new method of interviewing that would make the interview subjects feel and look more relaxed. Two, due to the number of subjects involved and time restraints, the filmmakers feared they would be unable to focus on each artist individually, but still wanted them all to have a part in the movie.

  • With few exceptions, all the art shown in the film was displayed at the art opening.

  • Filming began in the middle of February and continued every weekend until the first week of April.

  • At the height of filming, the filmmakers averaged three interviews a day.

  • Only one artist included in the exhibit was not featured in the documentary.

  • Despite traveling all around Arkansas every weekend for three months, the three-man crew only spent one full night away from home.

  • To get as unrehearsed responses as possible, Sarah attempted to keep the conversation prompts a secret until the individual interviews. This proved impossible as many of the artists were friends with each other and they compared notes.

  • The artists were not read a list of questions in the traditional manner. At the beginning of the interview during the sound check, Sarah read a series of what she called “conversation prompts” with the instruction that the subject was to talk about whichever one they remembered when the interview officially began, the theory being that if they remembered it, it must be important to them for some reason. (Incidentally this is the same method Sarah uses to write the narration for the twins’ other documentaries.) Although many of the artists claimed not to remember any of the prompts, it became clear early on that by the end of most of the interviews, the artist had answered every one of the prompts in some way.

  • Although Emma did not look at a single one of Sarah’s notes, every clip she chose when she edited was one Sarah had noted as important during the interview.

  • The film is dedicated to Sally Williams, a former Arkansas artist and a major supporter of the art community in Arkansas. The twins decided to dedicate it to her after hearing three artists in a row site her as a major influence on their work and career.

  • The twins took turns editing the interviews. Sarah took all the even numbered interviews, and Emma took all the odd. After all thirty interviews were cut, they each worked for an hour before switching. In true DTP fashion, many times Sarah took the editing chair only to find Emma had rearranged her segments. Sarah fixed them and the cycle continued until one of them gave up or found something they mutually agreed was better.

  • The twins were not planning to make another film before college, but the continued pleas from their father to do this for him convinced them.

  • The twins did not miss a single day of school to work on the project—a first in DTP history.

  • This is the only film since their first that was declared finished more than twenty-four hours before it was due. The twins site the fact that their father misread the calendar and told them the wrong due date for this miracle.

  • The twins attempted to dub Maxine Paine’s interview several months after the film’s official completion, but they were unsuccessful.

  • Only six artists were not interviewed in their studios.

  • Several of the artists credit the film for inspiring them to work because they wanted to have something to show the film crew when they came.

  • This is the first of their documentaries not to have a direct connection to the Rose Law Firm besides the fact that the twins' mother is a partner there.

  • While traveling in northern Arkansas, the crew visited Mr. Jodie Jones and his wife. The twins interviewed Mr. Jones for their second documentary, Watching the Water Rise.

  • Although on the title screen in the movie, ARtists is written without the capital R, during production it was always written as ARtists. The postal abbreviation for Arkansas is AR, so ARtists is the shorthand version of the film's full title, Arkansas Artists.

  • The font of the title screen is based off the writing on Arkansas' license plates.

  • The twins never officially decided whether to call the film Artist or Artists. The title screen titled "Artists," but the twins call it "artists" and "artist" interchangeably.

  • During production, the film's title did not include "A Conversation." That part was added when the twins decided the film's format needed some explanation.

  • The twin's father jokingly refers to the documentary as "the film about artists that doesn't show any of them making art." Time restraints both with allotted interview time and movie length meant that there was no opportunity to show the artists working in their studios.

  • The twins had only a two week window between accepting the job and the first interview.

  • The twins' older sister, Livy, was a studio aid for Holly Laws during the editing of the film. At one point Emma had a question about the materials Holly used to make her Levittown houses and texted Livy to find out what it was. Livy texted back the chemical name for the plaster. When Emma asked what that translated to, Holly reportedly said, "Tell her to look it up, damn it!" 

  • When the twins sent out the request for pictures, Sarah asked that they include some baby pictures for the section of the film that talked about whether they'd always planned to be an artist. Emma was against the idea and only Holly Laws' "baby" picture ended up in the film.

  • At the end of Holly Laws' interview, Sarah asked if Holly were good at making gingerbread houses, to which she responded that of course she was. The picture of young Holly standing beside a giant gingerbread house was meant as an inside joke.

  • Although most of the twins immediate family has been credited in one way or another in their films, this is only the second time one of their family members has appeared on screen. The first was their grandfather in A Soldier in Skirts.

  • There is no music in the film. The twins have had trouble with music in the past and decided not to risk it.

  • When Sarah imagined the film, she always pictured black screens separating topics; Emma was against the idea. She said she could put the interviews together in a way that "flowed." Sarah was doubtful but let her try. 

  • This is the last film Sarah and Emma made together before being separated for their year abroad before college.

  • When the film was selected as part of the WorldKids International Film Festival in Mumbai, it became the first of the twins' films to be seen outside the U.S.

  • Fearing she would need to write narration, Sarah read some of her father's art textbooks before filming began. No narration ended up being needed, but the refresher course in art history turned out to be useful when some of the artists got technical during the interviews.

  • Knowing the DTP tradition of chocolate chip cookies, Sarah's best friend made her a batch of them before their first car trip. Sarah claimed the last one, but Emma and her father ate it while she napped. She didn't let them forget it for the remainder of the production.

  • Les Christensen and John Salvest are married, a fact the twins' father was not aware of until he scheduled their respective interviews. He also didn’t expect Les to be a woman.

  • The tight scheduling of the interviews meant that the crew often ran late. The only time they arrived early to an afternoon interview was Les Christensen's interview. Unfortunately they had told her the wrong time and she thought they were an hour late.

  • In 2008, Cindy Momchilov interviewed the twins' father at her camera studio. Sarah used many of her questions as inspiration when writing the conversation prompts. If Momchilov noticed during her interview, she didn't say.

  • Warren Criswell was nervous and refused to do his interview without the dog in his lap. That dog is officially the first non-human interview the twins have ever done.

  • Many of the artists had studio pets. Among those pets were dogs, cats, and lots of chickens.

  • A deleted scene shows Sarah being attacked by a flock of chickens after Holly Laws' interview. No chickens were harmed in the making of the film, although several did flee the coup.

  • David Bailin nearly fell asleep during his interview because he had been up all night the night before working on the exhibition.

  • Sammy Peters was the first interview and David Bailin was the last.

  • The twins missed their senior prom to go to the exhibit opening and film premier.

  • Many of the artists met each other for the first time at the exhibition. Emma couldn't stop remarking how strange it was to see them introduce themselves because to her, they'd been talking to each other for months.

  • After the twins left for their year abroad, their father attempted to make a version three of the film without his introduction or the dedication, but he was caught by their mother and forced to trash it.

Miscellaneous Stuff

    • SETDA DC-00307

    • The writers of Casablanca were the Epstein twins. When they won the Academy Award for their screenplay, they became the only twins to ever win an Academy Award together.

    • There has never been a set of female twins to win an Academy Award together.
     
    • In their film Just Plain Odd, the star is auditioning for a part on the Abreaction Television Station. Abreaction Theater was the name of the DoubleTroublets’ father’s theater in New York.

    • Their father, David Bailin, is an artist and former playwright and director in New York.

    • They always edit with a cup of tea and honey and homemade, chocolate chip cookies close at hand.

    • Their father designs their DVD labels. He also designed the DoubleTroublets logo.

    • The picture on the DoubleTroublets logo was taken when they were four. It was taken for an article promoting the Arkansas Arts Center. Sarah has the pink halo; Emma has the yellow.

    • When their youngest older sister, Clara Bailin, left for college, they made her a film called A Tribute To The Youngest Older Sister, that contained several interviews, personal messages, and a picture montage to the song Sisters, Sisters sung by Rosemary and Betty Clooney.

    • The DTPs edited and authored the film “Charcoal Lines: A Conversation With David Bailin" that was conducted by Cindy Momchilov on October 16, 2008 (click here to see interview).

    • The DoubleTroublets began a film in eighth grade called "Little Rock's Forgotten" about Fouche Creek. Fouche Creek is a river ten minutes from Horace Mann MIddle School that is very polluted and in need of community help. Mann EAST has an ongoing project dedicated to helping the wildlife in and around it. The school year ended before the documentary was completed. 

    • As of August 2009, The DoubleTroublets have been in the T Tauri Film Festival four years in a row, the Indie Memphis Film Festival three years in a row, and the Hot Springs Documentary Film Festival two years in a row.

    • In their spare time, the DoubleTroublets write stories and watch every film they can. 

    • Avid Star Trek fans, they have seen almost every episode of the original series and Star Trek: The Next Generation. They have also seen all the films including the most recent one which is their favorite.  

    • They have dressed alike their entire lives. As young toddlers, their nanny tried to dress them differently, but it disturbed their mother too much to see the same face in two different outfits at the same time. Now they do it mostly out of habit. Besides, neither one of them likes choosing cloths so this way only one has to suffer a day. 

    • Their least favorite questions are: 1) Are you two twins? (No, we just share a birthday.) 2) Which one's older? (The prettier one.) 3) Do you guys know you look alike? (Here I was just thinking my mirror was broken.) 4) Can you read each other's minds? (Yeah, and teleport too.) 5) Why do you two dress alike? (We value originality.) They only get asked these questions once a day on average. Their least favorite comment is, "Look, I'm seeing double!"

    • They are the youngest of five girls. 

    • The DoubleTroublets have the same birthday (October 12) as Hugh Jackman although 25 years apart. 

    • Ever since researching for a film for the Wolfe Street Foundation on films connected to Arkansas that have won at the Oscars, the Internet Movie Database (IMDb) has been their favorite website. 

    • In their sophomore year, they helped set up a film club at their high school.

    • Both are members of the National Honors Society, Mu Alpha Theta (a math society), STAND (a female youth activism group), Chinese club, and film club at their school.  

    • They were very mischievous toddlers. When they were four, they decided that their father's charcoal drawing was too dark, so they took it upon themselves to color it using pink (Sarah) and yellow (Emma) highlighters. Luckily they were too short to cause any real damage although pink and yellow markings can still be seen at the very bottom of the picture. Around the same time, Emma started to write Sarah's name on the wall, but she would always use yellow highlighter so their parents knew it was really her (Sarah would have used pink.) Sarah was smarter and would make sure she had the right color before attempting to frame her sister in retaliation. Eventually they were both given washable ink. Despite having outgrown highlighters, pink and yellow remain their special colors, as shown by the logo. 

    • They took eight (or nine) years of piano before giving it up to have more time to work on their films. 

    • Their father refused to let them have coloring books claiming that they would destroy their creativity. He said they should learn to color without borders, a metaphor still evident in their lives today. 

    • Their oldest sister, Patsy Bailin, was a production assistant on the film, Yellow Lights produced by Olin College which is located only a few miles away from Wellesley College where she went to school. When Sarah discovered her name on IMDb, she thought it was a different Patsy Bailin and sent the link to her sister as a joke. 

    • Despite screening and/or winning at the T Tauri Film Festival for four years, they have never actually attended the film festival because it always falls on the same week as their annual family vacation. 

    • Every so often, they host a DoubleTroublets Academy workshop at their home for any of their friends interested in filmmaking. After a day spent dissecting films and learning about equipment, participants are given certificates and the title of honorary DoubleTroublet. One of the honorary DoubleTroublets went on to make her own film, while two others later assisted the twins on a promotional film for the Wolfe Street. 

    • The summer before Separate But Equal, the DoubleTroublets were interviewed at summer camp for a promotional film. After the interview, the cameraman said they were naturals in front of the camera. The DoubleTroublets blew him off saying they were too shy and would feel more comfortable on the other side of the lens. 

    • At the age of 10, Sarah won a short story writing contest for her story "Ten Seeds". It was published in Cricket Magazine. 

    • Sarah has had two guest articles published in their high school newspaper, The Tiger. 

    • The DoubleTroublets were home schooled from 3rd grade to 6th. During that time, they traveled to UCA, Hendrix, and UALR where they sat in on their father's art history class lectures counting his "ums" in the back of the class.  

    • They often use deviations of the screen names Scribe (Sarah) and Cutter (Emma). Cutter was the name for an editor back when they used real film.

    A Soldier In Skirts Trivia


    10MINUTE BREAK

    • This is the DoubleTroublets’ fourth documentary.


    • The film was completed two months behind schedule.

    • This is the DoubleTroublets first documentary not done in EAST. 

    • The original reader of the Ruth Memoir was Emma’s Pre-Cal. teacher, Summer McFarland. She is credited in the documentary under “Special Thanks To.”

    • The original focus was on another Arkansas WAC, Era Hardy. Instead of a memoir, the narration was to include clips from her letters that she wrote home to her parents every week. The focus changed in January when the DoubleTroublets came across Ruth’s memoir.

    • The DoubleTroublets found Ruth’s memoir in the last file of the last box they looked through at UCA. They had considered not even looking at it, but decided too anyway. After reading the first page, they changed their focus.

    • The title remained in dispute right up until the day of their first competition. It was actually registered under a different one. Some of the options were “Lots of Love, Era,” “A Soldier and a Gentleman,” and of course, “A Soldier in Skirts.” “A Soldier in Skirts” was their first and last title although Sarah still prefers “A Soldier and a Gentleman.”

    • By the end of February, it was still unclear if Ruth was living or dead. The DoubleTroublets knew nothing about her life pre and post war. They eventually tracked her based on a newspaper article written in 1998 saying that she worked at the Bald Knob Area Chamber of Commerce. From there they found her number and got in touch with her daughter, Emma Jean Frippen, née Chaney. They completed her life story a week before the first competition.

    • One of the interviews, Marvin K. Bailin, is their grandfather. He insisted that his entire rank was listed in the film.

    • There were more interviews, but the DoubleTroublets decided they needed to make a choice: either they could tell the story of the WAC or the story of Ruth. They chose Ruth’s and consequently cut interviews.

    • In the subtitle under Merle Wilson, it states that she was a WAVE and a WOW. A WAVE was the equivalent of a WAC only in the Navy not the Army. WOW stands for Women’s Ordnance Workers. Basically it means she was a Rosie the Riveter except she worked with explosives.

    • The person that plays the music, Maureen Adkins, is the DoubleTroublets piano teacher. They’d have done it themselves, but they decided they wanted the audience in the theater not running from it.

    • A girl in secondary school sang the songs.

    • The narration was actually written around the memoir instead of the memoir being placed in later wherever it might have worked.

    • The picture of the present day female soldier is Leah Babb, Ruth’s step-granddaughter. She is a member of the National Reserve and has just returned from Iraq.

    • The documentary’s nicknames is SIS.

    • The opening line “They were the daughters of suffragists, the mothers of feminists.” comes from a poem Sarah wrote entitled “These Women of War” for fun a few weeks into the research. (click here to read “These Women of War”, keep in mind that poetry is not her strongpoint.)

    • Ruth's younger brother was at Pearl Harbor on December 7th. He was not harmed. 

    • One of Ruth's barrack mates in Europe was the sister of a member of the crew that dropped one of the atomic bombs on Japan.
    •  
      Ruth was a member of the Daughters of the Confederacy. 

    • This marks the first time Sarah has been heard in any of their films. She was the voice of Ruth.

    • Even the DoubleTroublets themselves had problems differentiating between the narration and the memoir. At one point Emma congratulated herself for pronouncing the name of the German general correctly only to realize that was in fact Sarah's voice. 

    • Emma was nervous about reading the names of so many foreign cities. As it turns out, the only thing she mispronounced was Fort Oglethorpe in Georgia, or so she's been told. The correct pronunciation is still unclear. There is still also some debate over whether Sarah correctly pronounced General Gustav Jodl's name. 

    • This was the first documentary to use the DoubleTroublets' current lighting set for interviews. 

    • The Marvin K. Bailin interview marks the first interview of a non-Arkansan they have ever done. He is from South Dakota.

    Watching The Waters Rise Trivia

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    • This is the DoubleTroublets second documentary.

    • The letter was first read by the DoubleTroublets' classmate and team member, Janean Jordan, but due to poor sound quality, it had to be rerecorded. Their neighbor volunteered. Janean was later given the leading part in the DoubleTroublets' first live action film, "Just Plain Odd."

    • During the making of the DoubleTroublets' third documentary, "Return to Sender," interviewee L.D. Holt died. "Return to Sender" is dedicated to him.

    • The DoubleTroublets were once asked why the "Special Thanks To" list in the credits was so long. They said it was because they'd forgotten where they put their special thank you card stationary. 

    • The film was edited on Casablanca. Casablanca does not allow the editor to edit audio and visuals at the same time. This is why the audio fades and transitions are so bad.

    • This and "Separate But Equal" are the only two documentaries made by the DoubleTroublets that do not have the DoubleTroublets Production logo at the end. DTP was not formed until after the completion of "Separate But Equal" and the logo was not designed until shortly before the completion of their third documentary "Return to Sender." The opening does label this film as a DoubleTroublets production however. 

    • The Corp’s footage was found on a German website by museum curator Harvey Hanna in Forest City, Arkansas. It took three days to fully download.

    • The person who reads the letter from Marjorie Gaston is the DoubleTroublets’ neighbor, Molly Carroll. Molly is actually from Baltimore and acted the southern accent for the letter.

    • In the letter, the greetings is “dear Bouise,” although the caption above the papers in which the letter was found say Marjorie Gaston only had a sister named Louise. Bouise was either a nickname for Louise, or the person who copied the letter into the files made a mistake.

    • The DoubleTroublets’ EAST facilitator, Mr. Rick Washam, recorded several letters from a relief worker that unfortunately were cut from the film due to time restraints.

    • Although the film is about Arkansas during the flood, at one point the narrator mentions that the Cumberland River in Nashville reached an unheard of height. The Cumberland River is in Nashville, Tennessee. The DoubleTroublets didn’t realize their mistake until they heard it in a competition three months after it was completed. Geography is not their strong point.

    • When the narrator talks about how the soil was richer than ever before, it shows clips of people shoveling dirt into bags. The people are actually sandbagging the levees.

    • When the narration talks about camp life, a clip of a camp is on the screen. This clip was too short, so the DoubleTroublets doubled it. You can see a man in a nightshirt up front walk halfway past his tent, then suddenly return to where he started and continue forward again.

    • Ruth Lincoln, the first interviewee, is the oldest woman in Arkansas at 111 years old. She is the grandmother-in-law of Senator Blanch Lincoln.

    • Interviewee L.D. Holt was the DoubleTroublets’ history teacher’s father.

    • Sammy Peters, an artist friend of their father, discovered the songs heard throughout the film.

    • Many of the pictures seen in the film came courtesy of Pete Daniels, author of Deep’n As It Comes.

    • The DoubleTroublets got the idea for the film from their mother.

    • Their favorite story was about the police chief in one ravaged town putting a sign up in the square reading “no fat people are to go swimming as the water rises a few inches every time they go for a dip.” Unfortunately they couldn’t work it into the narration.

    • The DoubleTroublets traveled so much for the film that they put a map on the wall and stuck pins in it to mark where they had been. The map with all its pins still hangs on the wall after two years. They have no intention of taking it down any time soon.

    • This is the last documentary made before the DoubleTroublets received formal training on how to make a film. 

    • At the end of the interview clip of Ruth Lincoln, a faint "che-che-che" sound can be heard. This is the sound of one of the DoubleTroublets' partners swinging his arms in a nylon jacket behind the camera. In the other half of the clip that is not shown, you could actually hear Emma whispering at him to stop because she wouldn't be able to edit it out. 

    • This was the last documentary made with additional team members. 

    • The interview with Ruth Lincoln was arguably the hardest one the DoubleTroublets have ever conducted. She could not hear above a certain pitch, so all the questions had to be relayed to her through their father. She was also partially blind and could not see where the camera was. Consequently her eye line is all off. 

    Separate But Equal Trivia

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    • This is the DoubleTroublets' first documentary.

    • The DoubleTroublets' named the film after their sister's speech "Separate But Equal." It wasn't until later that they learned what this meant and its foundation in the Plessy v. Ferguson ruling. 

    • The subtitle, "The Ruling That Changed The Future," actually refers to the Brown v. Board of Education ruling which deemed the Plessy v. Ferguson ruling of separate but equal unconstitutional. They came up with the title early into the research and didn't realize the two parts of the title conflicted until it was too late. Out of embarrassment of their own stupidity, they rarely refer to it by its full name. 

    • It is the DoubleTroublets least favorite documentary.

    • This is the only documentary that Sarah filmed the interviews while Emma asked questions. Once they looked over the footage and saw the bad framing, frequent zooming, and overall poor job Sarah had done and listened to Emma stumble over questions, they knew they had to switch places. 

    • This is the DoubleTroublets only film edited using iMovie.

    • This is the only DoubleTroublets' documentary that is not a DoubleTroublets Production. They would not form DoubleTroublets Productions until after this film was completed. 

    • The film was originally going to be about seven of the Little Rock Nine who had transferred from Horace Mann to attend Central. It was going to be called “From Bearcats to Tigers” (Bearcats are Mann’s mascots, Tigers are Central’s.) Eventually they decided the Nine were too picked over and chose to focus on the entire desegregation act. They later narrowed it down to just Arkansas desegregation.

    • Interviewees Arthur and Scott Gillium are the grandfather and uncle of Archer Tribbet, who is credited as a photo researcher.

    • The original version of the narration was recorded on a Dictaphone, but was discarded because it was hard to understand. The last line of the narration “we are all equal” is actually cut from the first recording.

    • The speech recited at the end was written by the DoubleTroublets’ second oldest sister, Grady Bailin, for her communications class in ninth grade at Little Rock Central High School.

    • The interview with Herb Rule was the first interview the DoubleTroublets ever conducted.

    • For a short time during the interview with Herb Rule, every time he opened his mouth, a dump truck would go rolling past the window and drown out his voice.

    • The interview with Herb Rule was done at the DoubleTroublets' mother's office, The Rose Law Firm. This venue was used again for David Martin's interview in "Return To Sender." Both Rule and Martin are partners at the firm.

    • The ending quote is from the DoubleTroublets science teacher at the time, Daryl Newcomb.

    • Skip Rutherford judged the film at the Regional History Day Competition. The DoubleTroublets interviewed him later for "Return To Sender."

    • Towards the end of the film, during the speech, a picture from a high school yearbook appears on the screen. It is from Little Rock Central High School's 2004 yearbook. The DoubleTroublets' sister, Grady Bailin and author of the speech is on the left side. 

    • This is the first of two credits Grady Bailin has received in a DoubleTroublets Production. She is also credited in Return To Sender as the composer. 

    • When the narration lists the Little Rock Nine, it uses their current names. Most of them, however, are mispronounced. For example Minnie Jean Brown Tricky was called Minnie Jean Brown Trickily. Whether this was caused by a bad source or just a slip of the tongue is unclear. The narrator also mispronounces Governor Faubus' name on numerous occasions. 

    • A section of this film is on the desegregation of Little Rock Central High School. The DoubleTroublets are currently juniors there.