THERE’S A PROFOUND PARALLEL between how we’ve gone about making “Lemonade: Detroit” and how Detroit is re-imagining itself. The latent hope around the D is that some mega industry – whether it’s automotive or green technology or urban farming – is going to fly in and fix everything. They’ll rehire a half million people and, bam, just like that Detroit will become a beacon of innovation and education and racial harmony.
But it’s messier than that. It’s more grueling than that. It’s more work than that.
Believe me, the same hope applies to “Lemonade: Detroit.” It might, it should, it could happen that a white-horse underwriter will write one big check, take away our fight for money and let us focus instead on our fight to tell the city’s story.
But until that time, it’s you and me, baby. It’s 9 businesses. It’s thousands of Daisuke Hugheses and Reverend Barrys and Chazz Millers and Phil Cooleys. It’s little bets and big balls. And it’s films like “Lemonade: Detroit” that aim to tell the dramatic story of Detroit’s hustle. One frame at a time.
In a review of David Korten’s book, Agenda for a New Economy, CSRwire writes:
Our hope lies not with Wall Street but with Main Street, which creates real wealth from real resources to meet real needs . . . locally based, community oriented, and devoted to creating a better life for all, not simply increasing profits.
Detroit is a testament to the satisfying, frustrating, mess that is the maker economy. It ain’t pretty. But, damn, won’t it be something when it takes shape.
One building at a time. One block at a time. One life at a time.
Director, “Lemonade: Detroit”
PS – Today is day six of our “$25k in 25 days” campaign. If you haven’t done so already, buy some frames or buy some swag to help us tell Detroit’s story. And please help us spread the word on Twitter and Facebook.