Introducing The New Team

The Veteran Documentary Corps is happy to introduce you to its two newest team members Daniel Jamieson and Jesse Sutterley.



Jesse Sutterley, Associate Director of the VDC, graduated from San Francisco State with a bachelors degree in History minoring in Journalism. He has always been passionate about history and what it means to understand our past as well as one another. He is formally the Editor-in-Chief from Diablo Valley College’s newspaper, the Inquirer, and has ran his own small production company for four years. Jesse has worked with film and editing since middle school and has been known to spend his late night hours in the editing room. He has just returned from a two month journey across the United States by Amtrak, making stops in American Legion Posts dotting all over the country. His personal work can be found at

Jesse can be contacted at



Daniel Jamieson is a professional filmmaker based in the Sacramento area.  His production work focuses on cinematic shooting. His post-production work focuses on core edits and motion graphics.  He’ll be doing all of this for VDC, as well as managing social media operations. He was first introduced to El Dorado Films for his work on promotional content for Veteran Documentary Corps. To see more of his work, check out:

Daniel can be contacted at

Farewell Carolina!


“We will all miss Carolina.  Her work stretched across all that VDC does, from film production to paying people, and she did everything with great professionalism.”
This week one of our key team members, co-director Carolina Gratianne, is leaving us.
For the last two and a half years Carolina has occupied a vital role within our team, making sure to keep the ship afloat by working behind the scenes, as well as participating in the production, direction and organisation of several of our recent features.
Carolina has made a valuable contribution to fourteen VDC films such as The American WarAdmiral Chester Nimitz and Madame Mars.  She also directed two short films, Vietnam Pilots and Samuel Wilder King.
Most importantly, she has provided invaluable consistency and has been the go-to person for all things VDC.
Carolina has brought a quick wit, can-do attitude and endless patience to our VDC family and we can’t thank her enough for everything she has done for us.
What’s next? Carolina is not only saying goodbye to us but also to San Francisco and heading to SoCal to pursue further dreams in the film industry and continue to cultivate her talent in a variety of creative areas.
Gracias por todo Carolina, you will be missed.

Premiere of Guy Hircefeld: A Guy with a Camera

By Molly Stuart

This weekend I had the pleasure of representing Guy Hircefeld: A Guy with a Camera at Impugning Impunity: Human Right’s Documentary Film Festival. In the heart of Manhattan, the festival setting stood in stark contrast to the mountainous Palestinian desert I tread with director Andrés Gallegos to make this film. Distant though these locations are, the film’s timely themes had no problem translating across cultures and continents.


The personal sacrifice and political transformation of Guy Hircefeld (lead subject) resonate with people around the world seeking justice in these tumultuous times. And his ever-present use of the camera as a weapon (in the face of more lethal weapons) reveals a unique example of the power of popular documentation.

Audience members remarked on the simultaneous beauty and unsettling nature of the images. They asked about the impact of Guy’s filming of Israeli settler violence and the expansion of illegal settlements.  I reported that since the completion of the film, the settlers whose violent acts were documented in the film have been removed from their outpost on Palestinian herding land. However, last month another illegal outpost was built by the same group of extremist Israeli settlers, demonstrating the continued importance of the tireless efforts of Guy and his organization, Ta’ayush.


It was encouraging to hear such resounding enthusiasm from our New York audience. Their insistence that this film must be seen broadly will fuel our efforts to grow international understanding of this intractable conflict and the personal stories within it.


VDC Filmmaker, Andrés Gallegos, Earns Spot in Prestigious Film Festival

By Director Daniel Bernardi

Andrés Gallegos, a VDC filmmaker and a recent graduate of the School of Cinema MFA program, has been nominated by the American Society of Cinematographers for his graduation film, Shoe Shiner.  Andrés is one of five students nominated in the graduate category of their annual awards along with filmmakers from AFI, USC and Chapman.

For Andrés, Shoe Shiner is very personal. It was born from one of his most precious memories from listening to his grandfather. “The script is based on my grandfather’s childhood and it portrays one of his adventures as a shoe shiner in Talca, my hometown,” Andrés told us. “This story has always resonated with me and during the evolution of my creative process as a filmmaker, I have been able to identify its narrative qualities and cinematic potential,” he said. “Wanting to bring it to a film form was a very natural decision for me.”

The fact that the script is based on a real story is a reflection of Andrés commitment to certain narratives that he feels close to, that he can observe in his home country in a daily basis. In Chile, the greatest manifestation of segregation is rooted in class division. Chileans live in such a dynamic that everything is articulated so that the less privileged classes have a lack of access to basic rights like quality education, working opportunities and health, directly affecting their human condition.


It is the sensitivity to the personal stories of peoples that preserver through great challenges that drives a number of Andrés’s VDC films.  During the year 2017, he directed three short documentary films for VDC under the framework of the VA Legacy program. He carried out detailed development work together with the history department at San Francisco State University (SFSU).  He also worked with teams of undergrad students from the School of Cinema at SFSU. “Personally,” he told us, “it was a very enriching experience, from addressing very sensitive stories to my performance in leading a documentary team.”


To see one of the films he made, Private first class Benjamin Tollefson, See:

This short tells the story of a Gold Star mother who honors her son and his family. “Benjamin found meaning in the Army, and his wife and son carry his strength forward.”

In this 2018 Andrés participated as a cinematographer in the realization of several VDC film projects now in post-production, traveling to France, Belgium, Hawaii, New York and Pennsylvanian to shoot material for five shorts and one feature on WWI.  VDC then sent him to Israel film a feature-length documentary, Objector, directed by Molly Stuart. This film tells the story of Atalya Ben-Abba, a young Israelite who refused military service and chose prison to oppose Israel’s occupation of Palestine.

Unstoppable, during his stay in Isreal Andrés directed a short documentary, “Guy Hircefeld: A Guy with a Camera” for VDC.  This short tells the story of a veteran that served in the Israeli military who now fights against occupation. This film is currently on its film festivals circuit.

Check out a trailer here:

VDC will continue to work with amazing filmmakers like Andrés.  He has made us a world-class production unit focused on telling the veteran story.


A University of Arizona student interns with VDC in San Francisco

Zayna Altoubal is a student born and raised in Tucson, Arizona, attending the University of Arizona as a film and television production major and planning on graduating in 2020. She seeks to become a director and actor.

Interning at VDC

by Zayna Altoubal

I was able to spend this past week in San Francisco working with the Veteran Documentary Corps, an organization dedicated to telling the real, sometimes unexpected stories of veterans and their families. Although their workspace is small and humble, I could immediately see that this team had enormous potential, with plans to expand their repertoire of films this year, and continue the growth of the organization through festivals and production of feature films.

My job was to help edit a promotional video for the VDC’s piece on Noble Sissle and his son. In the past, I have mostly worked on editing fiction pieces, music videos, and commercials. Documentary editing is a much more tedious process. First the interviews have to be transcribed. From there, you can piece together a concise account of whatever the subject is describing. The most difficult thing is to remove the less elegant parts of their speech, while still remaining true to the message that each subject wants to convey. Although doc editing can be frustrating and time consuming, I have realised this week that it can also be the most rewarding.


This experience has made me reconsider my thoughts about going into the documentary field. Throughout school, my goal has been mainly to work on fiction films, but I think now, I might look into getting involved in documentary film. It’s an important outlet that has the ability to both entertain, and teach a broad audience. I look forward to seeing more of VDC’s content, and watching the organization grow, hopefully working with them again in the future.


The American War Crew: A Conversation with Daniel Chein

On a sunny Wednesday afternoon I sat down to chat with Daniel Chein, editor and producer on Veteran Documentary Corps’ first feature length film The American War. Currently working towards his Masters of Fine Arts at San Francisco State University, Chein has previously edited a few shorts for VDC and has made several of his own documentaries. Thoughtful, articulate and patient, Daniel is well-versed in the art of storytelling. We talked about making documentaries, American identity and capturing the essence of the Vietnam War.

daniel_chein_2 (1).jpgSophie Clement: So tell me a bit about yourself, how did you get in to the process of filmmaking?

Daniel Chein: I came into filmmaking by way of anthropology actually, I studied anthropology as an undergrad and took a couple of filmmaking classes in my last year and it wasn’t until that last year where I really found an outlet that allowed me to express both my creative and critical insights… after that, I decided to pursue filmmaking.

SC: I watched quite a few of your films on Vimeo and it’s interesting that you say you come from an anthropological background because I think that shows quite a lot in your films. How do you go about picking something you want to create a film about?

DC: Filmmaking is a lot of work and what I’m trying to do is use a little more intention when deciding what projects to really engage because I think there’s a story in everything… with the project I’m currently working on… there was a specific approach to storytelling I was interested in and I sort of found the right situation and people to make that come together.

Okay, cool. How long does it typically take you to make a film, from start to finish?

The films that I’ve made so far are all short films and they have ranged anywhere from a quick project, maybe taking a couple of months, to something that takes a lot longer to develop and execute… the film that I’m currently working on for my thesis, Sonsplitter, I’ve been working on since the spring of 2016 so it’s coming up two years for a short film.

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Wow, so it’s a full on process?

Filmmaking requires a lot of patience and… in the case of my an ability to step away and come back without becoming too disconnected from it. I think every film has its own set of challenges and for Sonsplitter it’s really been a test of patience.

Awesome, so is that how you became involved with The American War?

I heard about The American War and that there was an opportunity that I might be able to edit it, I reached out to Daniel and we talked about the project and pretty soon we started working on it.

So is this the first feature length film that you’ve edited?

It is not, I’ve edited two feature films prior, both documentaries, so I came in with some experience. One of the challenges with this film is that the film is in a different language than my native tongue so working with subtitles and picking up on the nuances of characters who are from a different culture or are speaking a different language, and have a different set of life experiences than me, is an interesting process.

Yeah, it must be challenging.

As an editor you want to try to find ways of relating to these subjects and to tell their story… I feel like I know them even though we’ve never met.

Cool, so how does that work when the subjects are speaking in a different language? Do you have to get the subtitles straightaway for all of the footage or?

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The way it worked for The American War, our producer Trang worked with the team to translate and to determine what was worth translating… In my experience one minute of footage could easily take three times as long, four times as long to translate, so, it’s very time consuming. And even then trying to boil something down to the essence of what someone is trying to say… you really need a translator who’s able to pick up on the nuances, so Trang was great.

You’re also listed as a producer on the film, is that correct? What does a producer do?

A producer can do many things, but in my case I’ve really brought in a few key components to the project, one being our illustrator… and the music, the music was another big component of the film that I helped to secure the rights to and negotiate for and to ultimately use in the edit. Also just sort of managing this post-production workflow is part of my role as a producer, but more generally I think producers can serve in different ways. They help to raise money, they can help to promote the film, they could be brought on just to help facilitate a smooth production in Vietnam. They can wear many hats… For documentary it’s a credit that can mean a lot of different things depending on the type of film that’s being made.

So have you always worked in documentary?

Some of my films are more experimental, but I think my approach has been informed by the documentary film making practice, more so than fiction, although I do incorporate some elements of fiction into my work as well.

What draws you to documentary versus fiction film?

There’s a kind of innate spontaneity in the documentary process that forced me to rely a lot on my intuition… there’s a tension in documentary where you’re trying to control the story that you’re trying to tell and yet at the same time there’s so much that’s outside of your control operating within that space is appeals to me.

I suppose that’s the inherent quality of working with real people, it’s never quite going to end up how you expected.

I’ve met so many great people working in documentary, as collaborators but also subjects or participants. It’s expanded my perspective and something that I’m really drawn towards.

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What about the editing process do you like the most?

The magic of editing it’s kind of an intuitive process for me so it’s hard to breakdown. There is a way of working with the material and playing with it… like a sculptor with clay or a painter with paint… trying to see what speaks to me, what ideas and what themes, what storyline emerges, I find that interesting.

How much do you work with the director of the film, Daniel Bernardi? Is he quite involved in the editing process?

I think he really trusted me with the material but also I think he needed a certain kind of critical distance… Having trusted me as an editor, I was able to work with the material and then, when it was ready, approach him and say, from the material that I have to work with, this is what I came up with. And then later in the process, Daniel became much more involved getting more into the details and lately, at this point, we’ve been working together to try to get it exactly where it needs to be.

What do you think is the importance of telling a story like this? It seems to me to be an unusual take on something – even the title of the film, The American War, it seems to be a little bit of a play on the perception of that war itself. The film is marketed to an American audience, is that correct?

I would say that from Daniel’s intent, The American War is geared towards an American audience, but also an audience that might not understand that particular conflict from a veteran’s point of view, and particularly a veteran that would have been considered our enemy. I think that enough time has passed to where there’s space to have this kind of conversation, where Daniel as an American vet, even though he didn’t serve in the Vietnam War, is able to go to Vietnam and try to talk about what that experience was like for them.

Do you think it [the film] is intended to be provocative at all?

I think that, I would say, from my point of view, it is going to be provocative to some people but I don’t think there’s an outright intent to provoke. I think that people have different associations with that war that if you were sympathetic to the cause or you were opposed to it, you’re going to have, a different take on the film.

Did you find that you had to do a lot of research into the history of this event?

I did. Even though my parents emigrated here after the Vietnam War was over, growing up as an American in the U.S., my life was influenced by the Vietnam War in ways that I can’t really explain. There was still so much about it that I didn’t really understand, and I wouldn’t even go as far to say that I understand it even now, but there’s aspects of it that I feel I understand very well.  and I did have to do a certain amount of research yes, everything from you know the timeline, to the statistics, places that are being referenced and even the pulse of the American perception… all that stuff, I had to figure out.

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Interesting, because it was fairly divisive, was it not? It seems to me that it is quite ingrained in American identity, the Vietnam War.

Well, it’s interesting because I ask people who lived through Vietnam, “America seems to be going through a very difficult chapter now, how does it compare to the state of the union back in the Vietnam era?”, and I get different responses actually, some people feel like it was even more divisive during the Vietnam era and some people feel like it’s more divisive now. It’s definitely something that has profound influence on the American identity and what it means to be American today.

I think it’s fascinating and it will be an interesting climate to have the film released in.

Keep up with Daniel here:


The American War Crew: A Conversation with Tran Hong Hanh

Tran Hong Hanh is a knowledgeable and thoughtful man whose input as a producer during film production proved invaluable. Here he has written a few words about leading The American War film crew through the Phu Quoc Prison and explains to us, the audience, some of the history of the Vietnam War.

It was after dusk when we arrived on Phu Quoc Island. As the plane was descending, I looked out the window and caught zillion lights from the city, just as glistening as the reflection of the starry sky on the ocean surface. This was my second time visiting Phu Quoc, and my first time with my family. Phu Quoc Island welcomed us with a “locally” generous deal of rising wind. In the middle of an incredibly pleasant sound of the ocean, the coconut leaves, scooter exhausts, and scattered local street cries, I felt mixed feelings in me. I was relieved to see the beauty of such a pristine island yet anxious for what I was going to show my family in the next day – Phu Quoc Prison.


First thing in the morning, we rented scooters and headed to the well-known Phu Quoc Prison. The ride was marvelous. Everywhere our eyesight reached, the scenes were captivating lush green and mountain landscapes. It felt like a stone’s throw when we reached the prison. Here is a quick overview about Phu Quoc Prison – it was built in the Indochina War by the French colonists and was originally designed to jail Vietnamese revolutionists who were considered dangerous to the colonist government. After the Geneva Accords were signed, French returned most prisoners here to North Vietnam. During the Vietnam War, more prisons were built and reinforced across Vietnam, including Bien Hoa, Pleiku, Danang, Can Tho, Quy Nhon, etc. Phu Quoc prison, hence, became a P.O.W. camp under the administration of the Republic of Vietnam for detention of captured Viet Cong and North Vietnamese soldiers.

Picture2Phu Quoc prison covers an area of 40,000 square metres, divided by 12 zones, and housed more than 400 detention areas. There were four subdivisions named A,B,C, and D in each zone, each surrounded by half a dozen rows of barbed wire and stacks of mines. Guarding towers with machine-guns, constant patrols, and additional security during nightfall made Phu Quoc prison virtually impenetrable. The prison was manned by two thousand ROV staffs and wardens and about fifty American advisors. Each battalion of military police and each detention area was supervised by a corporal-rank American advisor. Overseeing Phu Quoc Prison was a ROV commander whose ranks were either lieutenant-colonel, a captain, or a warrant officer. There was always an American lieutenant-colonel and an American major sitting in the commander committee.

Picture3As we walked into the prison area, another world opened up in front of us, where ocean sound, rising wind and friendly local accents faded behind. In each subdivision, there were 9 rooms for prisoners and 2 others for interrogation, punishment or solitary confinement. The 36 square-meters prisoner room was built to house 50 people but actually had 100 to 120, sometimes 180 people. We walked by each subdivision to see the montages of tortures, trembled by the most poignant examples for the sheer brutality against human lives. Corporal punishment used included electric shock, waterboarding, hanging prisoners upside-down, nails driven into fingers, feet and head, thrusting burning metal to prisoner’s flesh, pouring boiling water onto the prisoner’s body, burning prisoners in a big wok, tightening prisoners in sacks and pouring burning coal onto them, burning prisoners alive, burying prisoners alive, and hurting prisoners with pounder, sticks and rod, pulling teeth.

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Wardens could sentence prisoners to death en masse by firing guns at them at once or using poison. Misery and pain inflicted on communist prisoners also included the well-known “tiger cage”, a cramped cage covered by barbed wire where prisoners were kept inside for days and nights. Huynh Duc – a subject in our documentary film The American War – was kept in one of these each time he plotted an escape. Beating was constant. With the systematic tortures and the worst living conditions, between June 1967 to March 1973, 4,860 prisoners were killed in Phu Quoc prison. Thirty-one times escapes were plotted, including prisoners digging trench four seperate times to get out, seven instances of rioting and fighting against the wardens and thwarting guns to escape, as well as the fourteen times prisoners escaped by climbing the walls and six times when prisoners just scattered and escaped successfully.

After walking around for a while, I was getting ready to leave. On my way out, I caught my youngest daughter standing quietly next to an old woman. The lady was telling my daughter about her annual visit to this place as her brother and sister-in-law died here. We didn’t have anything to say. Our minds were beset, and our hearts were heavy. The war, which we thought to have ended way back now laid out in our memory, explicitly more than ever.

Translated by Trang Tran