Riveo Impact Lab

Global Impact, Local Stories: Sergio Rapu on the Art of Documentary

• Elin Barton, Emily Adams • Season 1 • Episode 1

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Join us for the inaugural episode of Riveo Impact Lab, a podcast where we delve into the intersection of small businesses, sustainability, diversity, and ethical decision-making in today's ever-changing world.    

In this episode, we sit down with Sergio Rapu, a filmmaker and the creative force behind Mara Films. Sergio's work, including the award-winning documentary "Eating Up Easter," has been featured on prominent platforms such as the History Channel, Discovery, National Geographic, and PBS.    

Throughout our conversation, we'll explore Sergio's journey into filmmaking, the profound impact of his work, and the crucial role of storytelling in fostering positive change. Discover the lessons Sergio has learned about community engagement, ethical film production, and the power of documentaries to inspire action.    

Tune in to Riveo Impact Lab and join the conversation on how small businesses can make a real difference in the world.


The Riveo Impact Lab is produced for you by Riveo Creative. For more Riveo Impact Lab content, including the video versions of all our episodes, please visit https://riveocreative.com/riveo-impact-lab/.

[electronic music starts]

Emily Adams:

Welcome to the Riveo Impact Lab, the podcast in which we explore what it means for small businesses to have real impact in an evolving world. On this podcast, we engage our curiosity around topics like sustainability, diversity and inclusion, and the ethical outcomes of our decisions, all from a small business perspective.

Elin Barton:

I'm Elin and this is my co-host, Emily.

Emily Adams:

Yeah. This month, we want to talk about creators in media. So filmmakers, television producers, radio presenters and podcast hosts all have an incredible amount of influence on the world, mostly by shaping public perceptions and opinions around any given topic. So this is a responsibility that we at our production company, Riveo Creative, and at the Riveo Impact Lab take extremely seriously. As we always say, storytelling is often the most effective way of communicating ideas, and media is the vehicle through which individuals receive their stories.

Elin Barton:

This month, we are sharing our interview with filmmaker Sergio Rapu, owner of Mara Films and director of the feature length documentary Eating Up Easter. This documentary explores the history of Rapa Nui, otherwise known as Easter Island, via the stories of four islanders. The documentary delves into the effects of modern development on the island, as the native people seek to preserve their culture and protect their environment. As a native to the island himself, Sergio brings an important level of depth to the documentary, which we will discuss more with him in the interview. Sergio's company, Mara Films, says it creates emotional experiences to address social, economic and environmental conflict in order to empower, enrich and sustain life. Through our conversation with Sergio, you'll see how he and his company accomplish exactly that. Please enjoy filmmaker and early days Riveo Creative employee, Sergio Rapu.[electronic music concludes] Sergio! I'm so happy to be talking to you.

Sergio Rapu:

Uh-huh! It's good to connect with you. After quite some time. This is really exciting. I want to talk with you and some of your thoughts about, like, filmmaking and storytelling and all the things. I've got lots of questions to ask you. Let's start way back at the beginning. How did you get started in this field in the first place? Before I went to school for it, I think, I was really exposed to just, like, cameras and video production at school. You know, like, early, early, like in fourth grade, I think I remember...

Elin Barton:

Like in fourth grade.

Sergio Rapu:

Yeah.

Elin Barton:

Wow.

Sergio Rapu:

I was in this class where, you know, they let us play with these old VHS things.

Elin Barton:

And this is in Hawaii?

Sergio Rapu:

Yep.

Elin Barton:

Okay.

Sergio Rapu:

Yeah. So I moved to the. I was born on Rapa Nui or Easter Island, as you know. And then around third grade, my family and I, we moved to Hawaii, to the island of Oahu. And so it was kind of a odd time where I grew up speaking Spanish. But my mom taught me English. My mom's American, my dad's Rapanui. And so I entered into the third grade, having to enter into sort of an English as a second language program. And I had this friends that I started making, were all in this other, like, gifted and talented class, it was called, where, once a day or so, once a week, I forget, they, like, got to, like, skip out of class and go and, like, be in this magical land of, like, creation and art and experimentation and stuff. And I was like, “Ah, I want to do that.” But I was stuck in, like, the English as a second language program. So come fourth grade, I, I worked really, really hard. And I eventually kind of got into that program also. And really, you know, I realized that, like, it's the access to the stuff, you know, that kind of got me thinking about like,“Oh, like the, you know, what is video? How can we do things?” I think that was the first time I touched a video camera. I started working with it. And then in high school, I had a really influential teacher who, he was an English teacher. His name is David McCullough. He's the son of sort of the historian, David McCullough. And he taught this class about looking critically at films. And so we would watch, you know, like these really old films. And read the books, you know, if they were books and and movies and stuff. And he would stop it on different frames in the film and say, “Look at this. Why do you think they framed it like this? Why do you think those props are the way, the way that they are?” And all of a sudden that started also making me understand that like it's like really like a it's an art. It's a craft. Right. Like, especially in fictional films, everything is there for a reason. So why is it there for a reason? You know, it's kind of like a poem. You can, like, really dig deep down into, and watch a movie if it's done really well, watch a movie multiple times and get sort of different meanings out of it. So that was also really exciting, you know, and that that kind of launched me into this idea of like, what if I did production? What if I made movies? So that was that was the initial spark, I guess.

Elin Barton:

Yeah. That's great story. I love that, and I love thinking about the film frame, you know, the framing and the all the filmmaking as poetry. That's beautiful, that's beautiful. And then. So then your, this passion took you to study filmmaking as college?

Sergio Rapu:

Yeah. Yeah. So, I was fortunate enough to, go to Loyola Marymount University. It's a, it's a small college in LA, and really, you know, spend that time learning a lot, learning about the craft. And how do you shoot things and edit things and all of that. And I think, like, the best part of it came when, I got a job on campus to help pay for my tuition, and it was within the camera rental department. So even though I was going to classes and, you know, taking the tests and all of that really, like, day in and day out, I was touching equipment. And I was like helping others learn about the equipment. And so then that also meant that, like when friends of mine or other people needed help on their productions for their own projects, like who do you ask? Well you ask the people that are like touching the equipment all the time. So then I was dragged on to work on film sets. Which really had, that was the majority of my learning. My learning was like doing, my learning was really sort of messing up on my own projects and on other people's projects and then like learning from that. You know, the theory stuff was wonderful and beautiful, but, looking back now, it's like just the doing of things that that really taught me a lot. That was really impactful. And I after college, we all sort of in that camera department had dreams of being cinematographers and we were like,“Yeah, we're gonna go and film beautiful movies.” You know, I had the same idea that, like, my high school teacher told me of, like, framing and shot composition and all of that stuff. And then you get out sort of into the world, the real world, another real world, right? Because we're all in different worlds. I would say. And you realize, like how tough it is and how competitive it is and how grueling being on set is too. You know, I think my first experience as a PA, you know, being on set for 14 hours a day and stuff like that, I was like, “Wow, this is a lot. This is a lot of work.” And seeing sort of just like the amount of work that goes into even being a camera assistant, you know, not even being the person who is the cinematographer or the gaffer or any of that. Like people make their whole careers just setting up c-stands. I found myself kind of lacking that creative outlet by being a PA. I ended up sort of going back to Hawaii for a little bit and found this job, like filming weddings, like, funny enough. Right? But it was a stable job. I, I used a camera every day, I filmed stuff. I edited it, and I had to do it over and over again very quickly. So, like, similar to my experience in school, I was again doing the thing and it was sort of like a creative practice, and I could experiment with types of shots. And the combination between having to shoot something and edit it quickly was really important, because then I understood from the editing, what are the shots you really need to, to make this work, the sequence work or the story work or whatever? And then that really helps you in the shooting process and in the production process to not overshoot, you know. That was many, many years ago. You know, today I work in, in documentaries and, so much of that has like transferred over. When I go out into the field and I'm going to, I only have one shot to film this sequence that's going to happen in real life, right? They're not actors. What are the shots that I really need in order to make the sequence happen? Like that stuff that I learned filming wedding videos in Hawaii.

Elin Barton:

Yeah. No, always learning. And that experiential learning is is really the most powerful, I find too. And you skipped over the part of the story, skipped over the whole upstate New York part where you worked for us. You helped launch our company.

Sergio Rapu:

Yeah, but that was part of it too, right? That was part of that learning.

Elin Barton:

But you came here, we met. You had done. You had a portfolio with the wedding videos and some travel videos you had done, and that really good, I forgot exactly what it was for. Perhaps your aunt's nonprofit?

Sergio Rapu:

Oh right, yes.

Elin Barton:

What was that? That was really good.

Sergio Rapu:

My cousins’ actually. They started raising money to pay for cleft palate surgery

Elin Barton:

That's right.

Sergio Rapu:

for young children in Mexico. They had kind of, in their travel, you know, they traveled to Mexico just for a vacation a lot. And they kind of came across this organization down there that was doing really great work, trying to support the community health-wise. And so they started selling kitchen towels, you know.

Elin Barton:

That's right. Yeah. And that video, that, that was a video you had made, and it just was so good. It made everybody cry and just want to give all the money to the organization because it was so powerful. And, like, that is really good storytelling that makes you want to then, you know, do something, go find out more or it changes you somehow.

Sergio Rapu:

To do it. Yeah. Yeah. I think, I think video and film, you know, however you want to call it, like, it's it's an emotional medium, you know? I talk about this a lot. We talk about this a lot when we're trying to ideate new series or specials or, you know, whether it's for YouTube or big networks or whatever. It's like, is this the right medium for this story we're trying to tell? You know, the story can be told in a book, in a magazine, just Facebook posts, you know, pictures. Like, is this the right space? So what video and film is really good for is to hook, that that emotional element, you know, of your audience and hooking your audience to your characters and sort of building that relationship, in a way that, you know, some of these other mediums can't or do it differently.

Elin Barton:

Yeah. Yeah. There's so many reasons for that. And, you know, here we are. Both of us still in the industry. But I want to talk about your documentary, Eating Up Easter that you produced a few years ago. This has been a few years, right?

Sergio Rapu:

Eating Up Easter came out in 2018.

Elin Barton:

2018, okay. And, how, so how did that project come about? That was very, like, personal to you and your family.

Sergio Rapu:

I'm from Easter Island, I’m from Rapa Nui. By the start of that project, that project took about six years to make. So development of it started around 2012. I think that was after, after we left New York and kind of moved back to Minneapolis. But really, I had started working more in, just sort of feature-length documentary work by then. I realized that I wanted to try and tell a present day story, a modern day story of our community on Rapa Nui. Right? So often, people hear about Easter Island or Rapa Nui, and they just think of the stone statues or Moai, right. And they have misconceptions about what the island is actually like or what the statues are or why they were made. And, and we see this constantly when people travel there and get off the plane and then all of a sudden are hit with this, like, information shock. Right? People assume that the island is deserted. People assume that everybody killed themselves, that it's a mystery what the statues mean or who built them. Or, you know, concoctions around, sort of like alien, you know, aliens coming and, like, building these statues. And what it does is undermines the real story. The real story is that we, the Rapanui, are alive, right? There's a thriving community on the island. We are the descendants of, our ancestors are the carvers of those statues. And those statues have a very particular purpose or meaning within our culture. And so, understanding that there's a sort of misconnect or disconnect between the audience and the story, I wanted to try and tell a modern day story about our community to show that we are alive, to talk about sort of like the real issues that are happening on the island, many of which are connected to globalization, to mass tourism, to, to to things like that. So really kind of open up the can of worms in a sense to that. And so we started, you know, we named the film Eating Up Easter because initially it was going to be a film about food dependency. Rapa Nui imports 90% of all of the food that we eat on the island. And this isn't very different to other islands in the Pacific. Hawaii, for as big as it is, there's like a million people that live there. They import about 80%. Right? So all of that comes in through ships and planes and stuff. There's very little self-sustaining element to to these islands and these island communities. But as we started digging deeper, we realized that, like, there was a bigger story about the push and pull between a community, a really small community in the middle of the Pacific who's trying to sort of develop and modernize and compete and connect with the outside world, and then also having to deal with the issues that the rest of the world deals with, right? Everything from like plastic trash to, education to this push and pull of should we, you know, do it in old ways versus do it in new ways. So in the end, you know, that's what the film, turned out to be about. We, we identified a couple of characters that we followed throughout the course of 3 or 4 years, and then put it together and, and sent it out. And it was sort of a, it was my first film. It was kind of a really big learning process, you know.

Elin Barton:

And it was well received. You, you got awards for this film, did you not?

Sergio Rapu:

Yeah. Yeah, yeah.

Elin Barton:

Yeah.

Sergio Rapu:

We got a bunch of different awards. We played at several different film festivals here in the US and across the world. We were also acquired by Independent Lens. It's a, it's a series on PBS. And so it was broadcast nationwide in 2020. They still play it every once in a while and usually, like around Earth Day or something like that. And, it still keeps getting plays internationally also. So, we've, I think the BBC has played it, the different broadcasters in Canada, Australia, New Zealand, kind of all over. And then also really embraced by my community because they understood the importance, they saw the importance that outsiders were seeing the realities of Rapa Nui. Right? So now, like the latest iteration of that is that, a recent cruise ship called the Peace Boat that travels from Japan across the Pacific and lands on Rapa Nui, played it for their 300-plus passengers. And one of the characters on the film, Enrique, also accompanied the cruise. Right? So he played music for them at night. He spoke to them about the island.

Elin Barton:

Nice.

Sergio Rapu:

So then all of a sudden, instead of arriving, right, completely with this other idea of what they were coming to, they arrived with that knowledge and that understanding of like, this is where I'm going, and this is the impact that I'm going to have as a tourist, and this is how I can minimize that or change that by my behaviors that I take But the critical part is always sort of shifting that mindset

Elin Barton:

Mmm.

Sergio Rapu:

of the people who are creating the action, you know. Are they fully educated? Do they fully understand, you know, what they're stepping into?

Elin Barton:

Yeah. I love hearing that they're using the film in that way. That's, that's powerful, innovative and, effective. Yeah, I'm sure that's that's really cool. I want to ask you. So, like, that story is a great example of, like, you were the right person to tell that story because that is your community. You had insight and access in a way that other filmmakers probably wouldn't. You had, you know, background in understanding. That's a very special situation. How do you approach other stories when you aren't necessarily like of the community in the same way? What, what, do you have a process around that?

Sergio Rapu:

Yeah. No, great question. You know, I, and I think this is becoming even more and more important. I think as storytellers, we start. You know, before, I just used to be like, what story do we tell? How do we tell it? And I think the other sort of big question that we all ask ourselves is, are we the right people to be telling this story? Right? It's something I think that everybody needs to assess. I think the way that I approach it is really by starting that question, am I the right person to be telling the story? And if my answer is, I'm not sure or no, then it means, then the secondary question is, who should be the right person telling this story, and how can I help that person tell this story? There's a lot of projects that I'm involved in now where I'm in a support role. I'm not directing it in a sense, but I am mentoring younger filmmakers. I am helping in the production in a different way. I'm reviewing cuts and giving notes. I'm finding, you know, financing, distribution and connection. Filmmaking is such a team sport that, that there are so many different ways you could be an ally. Right? Maybe that's a good word to use. An, an ally to the director, to the community that is trying to get their story out. So I think that that filter’s incredibly important. And, and I think people, especially audiences now, are very sensitive to it. They'll ask like, who did this? Is this authentic to that person, to this community, or are people just being tokenized by somebody else, right, within, within the narrative? It's not to say that people can't help. It just means that you don't drive the boat.

Elin Barton:

Right.

Sergio Rapu:

Help somebody else drive the boat.

Elin Barton:

Why not work in the world of entertainment, given, you know, forget about the long days and everything, but it's really a choice to go in this other direction and work in the world of documentary filmmaking and work in the world where you are more likely to have an impact and see the shift in people. Like what? What caused you to really go in that direction?

Sergio Rapu:

I had aha this moment. I was in a, I was in a conference, I think it was a, it was like a PBS conference or public media conference where I was early in to sort of the documentary world. I had written scripts. I was trying to make a narrative, a fictional film done about Rapa Nui. And one of like my documentary counterparts there kind of made this, like, kind of teased me a little bit and be like,“Oh, are like real world stories, like not good enough for you? You have to, like, make up some of your own?” Or something like that. And I was like, you know, I was taken aback a little bit by that. But then at the same time, it made me think a lot, made me think a lot. Like, yeah, there are a lot of really incredible real-world stories. Why do I just want to make some up out of, like, my own mind, right? And so that really intrigued me to just kind of, like, explore nonfiction storytelling more. In regards to, like, your, your question about impact, you know, the term impact, we also have this conversation a lot in terms of sort of like the public media space. Because the idea of impact versus audience engagement, sometimes people use it interchangeably, but it's very different in, based on how you, how you define it. Right? Audience engagement is just a interaction with your audience. You know, setting up tables at an event, handing out fliers, hearing feedback from them, things like that. Impact really has to do more with, is there a change that happened? The first change that we always look for in impact, or at least I look for, is a change in understanding or a change in perception. When an audience member, what did they think about the world before they watched my movie? What do they think about the world after they watched my movie? And whatever that shift is, that's like the most minuscule, but in many ways, like also the most critical part of impact, because it's, it's the initial push, to get to maybe like a greater goal. Right? It's like the thing you're talking about, Elin. It's like, how do we change the world in positive ways? How do we change society and to be healthier and happier and better and, you know, more equitable and things like that. I think that there's ways that entertainment and fictional storytelling can have impact. It's a, it's, I would say it on a lot more of an emotional level, where people are invited into a space where they can explore emotions of fictional characters in a sense, right, and understand their own emotions and maybe even process their own traumas or their own fears or whatever it is in that space. I think nonfiction, right, where documentary storytelling really works is when we can do both that emotional work and then also sort of like the mental work, understanding our world better through an emotional lens. Why do people do what they do? Why is this issue an issue that would impact everybody? But because these people live in a particular place or look a certain way or, or have particular religion or way of loving one another, like why are they treated differently? Right? And so this is again, like sort of this, this film medium, this video medium is building an emotional connection with people that maybe you wouldn't hang out with all the time, right? That don't look like your neighbors, that don't look like your family. And they're real, right? That's the biggest part of it. And they really lived or are living. So I think that just puts a, a bigger weight to the story. But it's also a lot trickier to make because, you don't light it the same way. You can't, you don't have the big crews, you don't have the big budgets. You have to find sort of the emotion and the narrative arc within sort of the world that we live in, which there, again, there are stories, but really it's like that's where the craft of filmmaking comes in, where you really are able to chop it down in the edit and say, “This is how, you know, the story is going to follow,” similar to a fictional arc, but just in the nonfiction space.

Elin Barton:

Right. And you didn't even really talk about the time when. When, when you've got a fictional movie you're shooting, you're talking about months of shooting, and a documentary, it's, you know, it could be decades. So thinking back on all the projects you've worked on, is there any one that stands out as the most rewarding for you personally? Or seeing the impact of your work?

Sergio Rapu:

Mmm. That's hard. There isn't one. I think, you know, it’s like picking like your favorite child, right? As a storyteller I always learn more like after I'm done with a project. So, the way that I am doing documentary now is different than I did two years ago, five years ago, ten years ago. And, and I see my growth as being part of that impact, I guess, in myself, because then I can be more intentional about things. You know, at the, at the very beginning, like you're just worried about getting the project done. Now, getting the project done is easier. And so then I worry about other things. I worry about, how are people, who, who am I reaching and how are my characters going to feel about who I'm reaching? Right? We forget about that, like when we film real people, their lives continue even though the film ends. And so in many ways, not only are you having impact through the audience that's watching it, but now these characters, you've added something to their life, and we as filmmakers need to be conscious of that and responsible for that too.

Elin Barton:

Yeah. That's an excellent point. It's very brave of them to tell their story. Okay. This has been wonderful. I do want to ask you. I know we're running out of time here, and, I wanted to ask you. So, like, thinking big change, you know, global change, that many of us want and, and our earth needs, that can be daunting, you know, that can just feel overwhelming. And, on this podcast, our, our audience is small business owners, could be filmmakers, you know, smaller entities. And, these smaller entities are often juggling, you know, a lot of different tasks that they have to accomplish. If someone's looking to just, like, take a step towards positive impact, how, what, do you have any words of wisdom or thoughts on, like, how to ensure that they're able to do that just like little by little and feel that it is making a difference? Because sometimes it can feel like, “Really? I'm putting my, you know, thing in the recycling bin and does it matter?” And you know.

Sergio Rapu:

I mean, everything starts with a plan, right? So really, it's, it's about identifying what is it that you want to change? What's the change that needs to happen? And who's most impacted by it? And talk to those people and ask those people, is this a change that you want? Is, you know, can I help? So it kind of, this kind of comes back to the conversation of like, who's telling the story, right? So like, who are we trying to, what, what is the change that, that, that we're trying to create, to, to push, to change, and who's impacted by that? And having those individuals, whether it's you and your community or the people around you, maybe you're an outsider in this other space, really building community and conversation and partnership, right, with, with those people. I think as small business owners and those type of, of entrepreneurs, like there's always a sense of like community-building in your customers. Like who is your customer? What problems do they have? Right? This is sort of like business, is about solving problems for people. And so in many ways we're doing that, just sort of like in a different way. Right? We're not, it doesn't necessarily have to be a monetary exchange of goods. It can be a shift in ideas. It can be an uplifting and things like that. So I would encourage people to identify what is that impact, what is that change you want to do and get in the same room with the people that are impacted by it and have conversations more, because something organically may show up that you can help solve, that you can help provide as a business, to make that shift, that change. And I think that's where innovation comes too, when you can start thinking about problems from different perspectives and having conversations with with different people about it.

Elin Barton:

Yeah. I mean, 100%. And it makes me think. Yesterday, we launched our Diversity Advisory Board. First meeting. Something we've been wanting to do for a long time. It was hard to get it going. We didn't really, like, I don't know how to run a diversity advisory board, so there was a lot of insecurity around starting it and questions. But what I learned from the board meeting yesterday is it's okay not to have all the answers. It's okay to show up with vulnerability and curiosity and just kind of, you know, see what unfolds and take it step by step. And I think that's applies also to what you're talking about, is just this willingness to be part of the change and openness to what that looks like.

Sergio Rapu:

Yeah, 100%. We forget. Now that I am a father. I'm still learning to be a dad. Having children has taught me, and even sort of the work that I do has taught me that we have to make mistakes in order to learn. Making mistakes is a part of life, just as is conflict. It, both of those things are part of life. So when you make mistakes, you identify that you made a mistake, you apologize, you repair, and you move forward. It's the same thing with a conflict. You have, you have a conflict with somebody else. You sit down with them, you both share your understanding. You listen to the other individual so that you can understand their perspective. You repair and you move forward. And that's how we grow. That’s how we grow as filmmakers and individuals and business owners. You know, obviously it feel, it's unsettling. It doesn't feel great. Right? Like coming back to the emotions of being in conflict with somebody else or making a mistake. We don't want to do that because it doesn't feel good. But it's a natural part of being humans. It's, it's a, you know, we have to have that feeling and then, and then we can move on with it. And so I think, you know, if, if, if there's anything that, that I hope people take away from this is the importance of making mistakes, right? Whether you are starting a diversity board, whether you are trying to engage a community that you've never engaged before, whether you're trying to talk to your own community about issues that you see, but, you know, you're unsure of, like how other people are going to view it, things are going to be uncomfortable. And that's okay. It's natural for us to feel discomfort as we move out of this space of comfort, if we want change to happen.

Elin Barton:

Mmm. Thank you. You give me hope for the future. This, you know, this, the work that you're doing, the, the energy you're bringing into the world, like, all of it is just beautiful. And I really want to appreciate you. Thank you for your time, Sergio. What, how can people find you and get ahold of you and learn about your work and, and all the things?

Sergio Rapu:

I'm on Instagram, @smrapu. Also, my company is Mara Films.

Elin Barton:

So marafilms.com?

Sergio Rapu:

Marafilms.com. That’s how I do my work.

Elin Barton:

Okay. Fabulous. Well, thank you for taking the time. It was really a pleasure talking with you. And, you know, perhaps we'll continue the conversation one day. Yeah, I would love that.

Sergio Rapu:

Thank you. Elin, this has been a wonderful conversation.[electronic music concludes]

Emily Adams:

And now here's our Impact Tip of the Month. Consider becoming a supporter of one of the numerous grants available to underrepresented filmmakers, such as the AXS Film Fund, whose mission is “to support independent filmmakers and nonfiction new media creators of color living with disabilities in their endeavors to tell stories, make films, and create content.”[electronic music starts] Thanks for listening and make sure to do good in the world this month. If you have questions you'd like us to address on the podcast, you can reach us at info@riveocreative.com. Subscribe wherever you listen so you don't miss out on any of our incredible upcoming guests. We'll see you soon at the Riveo Impact Lab.[electronic music concludes]

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Elin Barton

Co-host
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Emily Adams

Co-host
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Sergio Rapu

Guest