I went about the traditional steps of preparing for a feature film. I began generating interest from financiers and celebrities to be attached to the movie. Then I had the idea for an intern program at Compton High so that I could not only learn about the world I was to represent but I could also provide an incredible opportunity for the students to learn about filmmaking. I headed to Compton to meet the film and television teacher Mr. Reynoso. Then everything changed.
 
 
  When Mr. Reynoso and I met, I knew right away that he was a person who would protect his students at all costs. I knew this because early into our conversation, Mr. Reynoso succinctly and very politely told me that Compton didn't need another white girl coming in to save them. As we talked, I told him about Brown Widow and that I wanted to do this film with integrity and provide the opportunity for his students to have a voice. He explained that his students not only had a voice but they were speaking loudly. He was intensely proud of his students and with much excitement, he showed me footage from their movies. I was shocked to learn that not only were they writing their scripts on Final Draft, but they were also editing their footage on Final Cut Pro. Moreover, some of them were getting paid for their work. Quickly my stereotypes of the "poor ghetto kids" began to get challenged. 
 
 
     After an hour of us talking and me assuring him that my intentions were true, he said, "Let's go for a ride." I got into his car and he drove me around Compton. I saw well-manicured lawns and cars far nicer than my own. The streets were quiet and calm. He smiled and told me that there was a lot more to this city than gangs. To prove his point, he then took me to a private airport where we met two 11-year olds who were flying helicopters. Real helicopters. At the end of my private tour, Mr. Reynoso looked at me and said that Compton doesn't need another movie about the problems of gang life. 
 
 
     While Mr. Reynoso drove me back to my car, a realization hit me. It was clear to me that the gang movie Brown Widow could not be the film I was going to make after all. How could I possibly give Mr. Reynoso a copy of this script after he had looked me in the eye and requested no more stories about violence in his community? 
 
 
    It became clear to me that day that what I wanted to do as an artist was tell stories about what is working on this planet and focus on what is thriving already.
 
  Project Reel was then conceived.
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C. Josephine Hagerty (Producer/Director of Project Reel) 

Josephine is a director and a producer who lives in LA. She went to NYU Tisch School of the
Arts and her latest short film "Release" ( www.releasethefilm.com) starring Victor Williams ("King of Queens") is currently on the festival circuit.
 
  During the summer of 2007, I was inspired to direct a feature film about Latina gang girls. I was attracted to this particular story  because it immediately reminded me of one of my all time favorite movies: Boyz in the Hood. Instead of taking place in South Central, this story was about Latina gang girls struggling to survive in Compton. I felt that the script gave young women a voice and I was at a point in my filmmaking career where I was tired of doing uninspired work and I knew that I  yearned to be of service and give somebody something. 

The Back Story of Project Reel :
by C. Josephine Hagerty
 
  • A Project that utilizes the power of filmmaking to create a greater connectivity in our global community
 
  • A Project that presents examples of  future, powerful, inspirational leaders of the planet
 
  • A Project that reminds our world what is working, what is thriving, what is fantastic
 
  • A Project that redefines the way young people are expressing themselves on the planet
 
  • A Project whose central goal is to uplift, give back and  inspire every member who is a part of the creation of it
 
  • A Project to remind us of what excellent human beings are cabable of. 
IN CONCLUSION, PROJECT REEL IS: