‘Ghost Boy’ Director on Why He Wanted to Tell Martin Pistorius’ Story: It Was About ‘Human Connection’

Rodney Ascher, the director of “Ghost Boy”, chanced upon Martin Pistorius’s tale from the NPR podcast “Invisibilia”. Upon listening, he recollected thinking, “This is a narrative I’d love to share.

The creators of the upcoming documentary, set to debut at SXSW on Friday, contacted Ascher. They shared a common sentiment that the story of a 12-year-old South African boy who regains consciousness from a vegetative state without memories, unable to move or speak, yet fully aware of his surroundings, was one that required telling.

Ascher showed great interest in unraveling the tale. Pistorius, a man confined indoors, was questioned by some about his full understanding of the situation. He seemed to listen in on conversations, much like a secret listener. He would watch TV programs that were left running for him. In the documentary, Pistorius communicates using text-to-voice assistive technology. He spends considerable time pondering his personal journey, as well as his family, friends, and caregivers, and how, throughout the years, he has observed them closely.

For Ascher, “A Glitch in the Matrix” mirrored his movie’s theme – people trapped in isolation and the potential risks it poses. Conversely, “Ghost Boy” presented a refreshing contrast. It felt serendipitous to transition from such a narrative to one that journeyed from isolation towards human connection instead.

Ahead of the film’s premiere, Ascher spoke with EbMaster about making “Ghost Boy.”

Martin will be at the premiere tonight, but how is he doing today?

Previously, our paths crossed during our work on a movie project, where he was thriving. Now, he’s married and has established a family, a home, and a stable job. There’s a buzz of anticipation whenever he speaks, and his most fervent topic is the significance of communication and connection. At his recent TED talk, he fulfilled his aspiration to touch lives, forge connections, share experiences, and listen to others. I’ll learn more this afternoon as he’s right here in Austin with us.

What was the first conversation that you had with Martin like, and how did that evolve?

I had a chat with Martin over Zoom, which was more of an introductory discussion. It took some time for me to decide on the right approach for the movie, as I wasn’t entirely clear about the optimal method. That initial meeting was particularly significant because the story is quite internal and there isn’t much archival material available. Therefore, building a rapport with Martin before proposing ideas seemed crucial.

Once you started filming, how did that all start coming together?

In most of my film projects, I’ve typically opted for long-form, first-person narratives. I didn’t want to interview numerous individuals about him; instead, I preferred him to share his own story. After watching his TED talk, what struck me as extraordinary was the manner he spoke – using text-to-speech software – enabling him to preload his speech and press play. However, when the camera focused on him, there was an abundance of emotion and expression in his eyes, suggesting he was both the speaker and the audience. He projected to the crowd, yet also mirrored his reflections on his experiences. I found this duality – projecting to a crowd while reflecting privately – to be unique and captivating.

Were there any inspirations for you in the filmmaking and storytelling?

For me, the movies “Swimming to Cambodia,” “Gray’s Anatomy,” and “The Kid Stays in the Picture” have always been significant sources of inspiration. The unique method of allowing him to narrate his own story using his own words and voice was instrumental in shaping our approach to this project.

How did you and your cinematographer work to capture Martin’s emotion the way you did – because you don’t have a typical talking head interview?

George Feucht and I discussed extensively about this as approximately half of the movie involved focusing on Martin’s eyes and interpreting his facial expressions. I understood we desired him to gaze directly into the camera lens. George opted for a camera system featuring a spacious sensor, which provided us with a crucial shallow depth of field that mimics medium and larger format photography, ensuring that Martin’s eyes remained exceptionally sharp and in focus.

Without revealing the ending, what was it like seeing that all come together?

This is the first time I’ve written a story with a positive conclusion, which was refreshing. A lot of it was influenced by the narrative he shares in his book, and the main points were outlined beforehand. We had a good idea of what the start, middle, and end would be, but the final part was unexpected. With documentaries, you often take a significant risk because you don’t always know what will unfold. You dive in with the best intentions and try to stay attentive to the surroundings. Remember that even if you believe you have everything planned out, be prepared for those sudden twists and surprises, as they can be delightful unforeseen events.

What was it like working with Martin?

Collaborating with Martin was simply incredible. Initially, I was apprehensive since we weren’t familiar with each other much, yet he entrusted me with the task of narrating his story. If I dared to take a risk, plunging headfirst into this venture, confident that the necessary pieces for solving the puzzle would miraculously present themselves when required, the trust Martin placed in me was exponentially larger and more gracious.

This interview has been edited and condensed for clarity.

2025-03-08 01:48