“The feedback was that we didn’t need that much to get it, and it was not productive for them to watch this. “In earlier edits, you really did feel the claustrophobia and helplessness, but it was too much,” he adds. The most minor stylistic choices, from music to the time between cuts, meant the difference between a profile in resilience and a potential trigger. They dictate the parameters, and we make revisions accordingly.” Thirty-plus interviews gave him guidance in a sort of empathetic editing process. “Our rule was to get feedback from the survivors. “You’re asking yourself what’s enough to get people to see this, and what’s too much,” he says. We may not be able to stop these lone-wolf attacks, but what we can see are people breaking through what are unbelievable barriers, psychologically.”ĭeferring the record of this shattering event to the voices of those who lived through it proved essential to Zimbalist as he threaded a delicate needle. “This is the best of us,” executive producer Susan Zirinsky says with a tear. Strangers laid their lives on the line to defend perfect strangers, and as they all returned to their respective home towns with a trauma no one around them shared, they formed a community of solidarity and support.
THE STORME WARREN SHOW SERIES
The series deliberately omits the name of the shooter in an effort to deprive him of the notoriety those in his position often crave, instead familiarizing us with a handful of ordinary citizens who rose to an extraordinary call for help. She and her fellow survivors saw the production as a way of reframing tragedy as triumph, focusing on the individual acts of valor in the midst of chaos. I thought, ‘Gosh, I could be really upset about this, or maybe this is the reason I was standing in the field that night. “I felt like the only narrative that had been fully explored was that of the worst person there, and everything made it out of the headlines pretty quickly. “I was never completely satisfied with the story that was being shared in the media, to be totally honest,” says Ashley Hoff, a survivor and executive producer on the project, putting her years of nonfiction experience to more personal use than ever. Though it might seem that the night ended with a bleak lack of resolution, 11 Minutes counters that that depends on where one chooses to stop telling the story. By the time the authorities reached his room, he had made himself his final casualty. Loosing a hail of more than 1,000 bullets, he took the lives of 60 attendees, injured over 400 others, and left hundreds more wounded in the ensuing stampede for safe cover. The Route 91 Harvest Festival had convened 22,000 country music fans on the Las Vegas Strip, a valley flanked by luxury hotels, one of which provided a perch to a lone gunman armed with an arsenal of 24 firearms. In second-by-second detail reconstructed through a mosaic of footage from cellphones, police officers’ body cameras, and CCTV setups, the four-part series recounts a night of surreal terror and inspiring heroism.
The biggest balancing act was how you get this to be so visceral that audience members fortunate enough not to have experienced a mass casualty incident still understand it in an authentic and deep way, and how you do that without re-traumatizing anyone.” So, how do you continue to engage people? You tell it through the archive, through the journeys of people with unexpected stories. “But the news moves on, people go to the next headline. “If you’re touched, if one of your loved ones is affected by this, it never goes away,” director Jeff Zimbalist tells the Guardian. The creators of 11 Minutes, a new documentary miniseries streaming on Paramount Plus, want to break one harrowing day out of the numbing stream of bad news.
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