"It's Not Going To Be Easy But It's Going To Be Awesome": Director/Editor Clay Tweel On Making "Gleason"

Clay Tweel became enamored with the documentary genre after working on “King of Kong: A Fistful of Quarters.” Prior to that film, he’d spent his time on set learning the ins and outs of production design, focusing his attention on color and design theory.  “King of Kong” director Seth Gordon brought Tweel into the film’s fold.  Due to its low-budget nature, Tweel found himself involved in every aspect of production.  The experience became an accelerated film school for him. Taking such a strong interest in learning as much about production as he could, it wasn’t until the film was released that he saw the power the content itself had.

“I saw the effect of a super character study. There was such a strong reaction to the film, people really cared about it,” said Tweel.  “I became enamored with documentaries.”

Tweel continued to work on Gordon-led projects, focusing on the mechanics from production to post that result in crafting a strong documentary.  Tweel provided additional cinematography and editing on projects such as “Freakonomics” and “Undefeated.” He retained a close friendship with Gordon, who served as a producer on Tweel’s early directorial projects such as “Print the Legend.” In 2013 Gordon and Tweel were introduced to a concept that had years of footage attached.  Steve Gleason, a former NFL safety and star player for the New Orleans Saints, had been living under the grips of amyotrophic lateral sclerosis, or ALS.  More commonly known as Lou Gehrig’s disease, ALS causes the deterioration of all muscles throughout the body.  In addition to the inability to walk, ALS eventually prohibits swallowing, speaking and breathing.  A team of students who doubled as caretakers had been documenting Gleason’s battle with the disease.  Gordon and Tweel were contacted to make something out of the thousands of hours that had been documented.

Tweel was eager to step in as director due to a personal connection with the subject matter; he has an older sister who’s been battling MS and understands the affects a crippling disease can have on not only an individual but their loved ones as well.   His journey began by hoping on a plane and meeting with Gleason’s wife, Michel Varisco-Gleason.  Gleason had begun a video diary shortly after his diagnosis, when the couple discovered they were pregnant.  He wanted to keep a record of the person he was and the lessons he’d like to bestow to his unborn son, River.  Michel and Tweel quickly developed a level of comfort and trust.  The concept to meld Gleason’s footage into a documentary was cemented.

Once committed to the project, Tweel went into business mode, watching and logging footage while keeping emotions at bay. As he sifted through the hundreds of hours of Gleason's story, he started focusing on the arc of the film’s character study.  Reflecting on the lessons he learned from Gordon, he created a three act structure.  The first act reveals the purpose Gleason finds in life through his diagnosis.  After River is born, Gleason’s purpose shifts towards fatherhood and his desire to be a caregiver. The last forty minutes focuses on the effect Gleason’s disease has on the family, in particular his relationship with Michel.  Confident in the layout of the doc, Tweel assumed the role of editor.  Despite the wealth of excellent footage, Tweel was able to find his inner harsh critic, allowing him to remain focused on what served each sequence best.  Inspired by Oscar winning editor Walter Murch who famously edits while standing and watches his cuts from a couch, Tweel would step away from scenes and review the progress from afar.

“Throughout the process I was not married to (any idea or scene.)  I would ask myself, ‘How does this lock into the whole?  How does this fit into the vision I want to tell?’” said Tweel.  “I could look at a scene and see it both as a director and as an editor.  It was really fun for me to put the doc together.”

Although the bulk of the documentary consists primarily of pre-shot footage, he noted there was so much attention to the nuances of the moment, but a lack of understanding on how the moments were affecting the individuals.  To get at these very intimate observations and confessions, Tweel shot roughly 100 additional hours of interview footage.  While he wanted to avoid the talking-head moments, he used the revelations that emerged from the interviews sparingly throughout the film.

As Gleason’s physical state deteriorated, he was able to test new equipment and procedures not all ALS patients can financially manage, as well as maintained a sense of adventure his family supported. The documentary does highlight the initiation and rise of his non-profit, “Team Gleason” that enables those suffering with ALS to engage in life-transforming adventures and supplies them with life-saving equipment. While Tweel admits the film does purposely raise awareness of his efforts, it equally balances his determination and strong will and miraculous tenacity that’s allowed him to continue living despite the low life expectancy generally given to ALS patients.  To ensure he was on track, he held screenings once the film reached completion to ensure it remained balanced and cohesive.

“Throughout the course of working on this film, I went back to (my reactions from) the first time I watched the footage. I did internal screenings and screenings for close friends (so ensure I was on track),” said Tweel.

Tweel is unable to announce his next project, but reveals it is something he’s been working on over five years. He also has a documentary series currently in development.  At the time this article goes to press, “Gleason” is currently shortlisted for a Best Documentary Oscar nomination.

To learn more about “Gleason”, please visit:

https://www.gleasonmovie.com/