Betty Feeds the Animals

Directed by James P. Gannon

Betty loves animals. She loves them so much that every day she puts 30 bowls of food outside of her home to feed them. She feeds skunks, raccoons, cats, foxes, and the occasional opossum. This is her story.


About the Director

James P. Gannon

James P. Gannon is a freelance director, cinematographer, editor, photographer and illustrator living in Brooklyn, NY. He works commonly in the realm of independent cinema and the commercial production world.

As a filmmaker he is one of the founding members of POCKET STORMS PRODUCTIONS and has created multiple short films over the last 10 years juggling almost every aspect of production from pre to post. His films have gone on to show at many film festivals across the world, winning awards and featured on high traffic websites. In the commercial world he has worked on projects for clients like THE NEW YORK TIMES, GQ, MTV, VICE, CHEVY, RCA, SONY, J.CREW, COVERGIRL, INSTYLE, GILT GROUP, DKNY, THE DAILY DOT, HP, TACO BELL and BURGER KING.

James has created movie posters for films that have gone on to show theatrically and on cable television. His poster for the 2012 documentary Only the Young was voted by flavorwire.com as one of the best 30 posters of that year, ranked between posters for blockbuster films such as Django Unchained, The Hobbit, and Lincoln.


War Story

I knew I wanted to shoot the film on super 8 to give it a timeless feel. The stock I decided to use (Kodak 50D) requires a lot of light to get a proper exposure, and all the scenes inside the house had the light meter bottoming out at the lowest aperture setting on the camera.

So I just kept placing Betty in front of windows, hoping that my footage would show something other than blackness and a properly exposed window.

In my mind, there was no way that Super 8mm footage was coming out exposed correctly, and I wasn’t sure if anything I captured was any good.

This feeling of regret haunted me so badly that I actually went back the next day with my Canon C300 and filmed the entire movie all over again.

Luckily when I got my Super 8 footage back from the lab (Gamma Ray Digital), everything came out perfectly exposed. I was so excited; I had forgotten how forgiving film could be.

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