Professional Bio:

Louise Woehrle - owner of Whirlygig Productions is a passionate storyteller whose mission is to shine a light on stories that need to be told with the hope they will serve as catalysts for change, promote healing and connect us as human beings. She’s a multi-award-winning filmmaker whose various projects represent narratives that are culturally diverse with a global reach. Her most recent documentary Stalag Luft III – One Man’s Story (‘19) is a harrowing story of grit and grace about her Uncle Charles Woehrle who flew in the Mighty Eighth in WWII was shot down and taken prisoner in Stalag Luft III for two long years. The film has received three festival awards in 2019, including “Best of Fest” at the 42nd Minneapolis-St. Paul International Film Festival, Audience Award for “Best Documentary” at the 20th Port Townsend Film Festival, and Audience Award for “Best Feature Documentary” at the 39th Breckenridge Film Festival.

Woehrle’s feature documentary work also includes The Pathway (‘15) about a progressive school in Southern India changing lives - broadcast nationally in Canada (co-director); Pride of Lions (‘10) about the people of Sierra Leone overcoming an 11-year civil war. The film has been acquired by 140 colleges and universities and won several “Best Documentary” awards at festivals. (co-director/producer); Souvenirs: Healing After War (‘11) about a Vietnam Vet trying to survive the war and his family who loves him. (producer); Sweet Blood (‘08) about the epidemic of diabetes in the Cree communities in Northern Ontario and what the people there are doing to change that - winning several awards. (writer/producer); Bushido (‘06) a story of WWII enemies, one American, and the other Japanese who become dear friends 40 years after the war through a Samurai sword. Golden Apple Award. (producer); Grandfather’s Birthday (‘01) starring Robert Prosky – a short dramatic film about a Grandpa who finds himself alone on his birthday. (executive producer/casting) – winning a Regional Emmy award.

Additionally, Louise has directed and produced many films for nonprofits that include the Cree Health Board, Veteran Voices (Minnesota Humanities Center), Feed My Starving Children, Pepperdine University Women in Leadership, Fairview Hospice and many more. Woehrle’s new project in development is Mecklenburg County. To learn more about Louise and her work, please visit her website: whirlygigproductions.com

To learn more visit the following links: “Stalag Luft III- One Man’s Story” Trailer | Stalag Luft ||| - One Man’s Story Facebook Page | Mecklenburg County Info | Follow Woehrle’s work on Instagram @whirlygigproductions

Filmmaker Interview with Louise Woehrle

Director Louise Woehrle and Charles Woehrle, the focus of “Stalag Luft III - One Man’s Story” stand on set. The film chronicles the journey of former St. Paul, MN resident Charles Woehrle as he relives his harrowing story flying in the Mighty Eighth… — Director Louise Woehrle and Charles Woehrle, the focus of “Stalag Luft III - One Man’s Story” stand on set. The film chronicles the journey of former St. Paul, MN resident Charles Woehrle as he relives his harrowing story flying in the Mighty Eighth, and as a prisoner of war in Stalag Luft III – the Nazi prison camp made famous by the iconic 1963 Hollywood film “The Great Escape.”

1. Tell us your backstory. How and why did you get into filmmaking?

I found my way into filmmaking through a series of events. In the mid-80s, I was a young actress doing local theater and on-camera work in Minneapolis. I got married in 1987 and by 1992 I was pregnant with my second son. My good friend Phyllis Ellis and I met in Lamaze class, each with our first pregnancy, and found we both shared a love for acting. In Minneapolis, at that time, the theater community was male-dominated and opportunities for women were bleak, so we decided to stage a play of our own under our company, The Collaborative Theater, LLC. I was previously cast in an all-female play by Jane Martin titled “Talking With”- it was this play that inspired me to create an all-female original play. So, my collaborator Phyllis and I put the “all call” out for female playwrights to submit a short theatrical piece 10 minutes or less in length. Our mission was to tell the stories of women from all walks of life and to employ only women for all acting roles and production from stage manager to lighting design. We were committed to pay every woman equitably including the playwrights. The response was tremendous. We ended up receiving 60 submissions from women writers - some of whom were nationally recognized. We realized that we had something special and selected 18 pieces that were woven together by our two extraordinary female directors from the renowned Guthrie Theater. We raised enough money through donations to go into pre-production and production. The show was titled Women: Scenes From Life. Unwittingly we had a hit on our hands. Every show sold out and people were returning to see it 3-4 times during its 3-week run. We were named “Producers of the Year” and in that short time we made a small profit, while paying 43 women an equitable rate. This was my first big vision brought to life as a producer. We created something by recognizing a gap in the theater community and then filling that gap by making our female driven vision become a reality.

This successful endeavor laid the groundwork and gave me confidence for future projects. In 1996 I created my first short film for my dad and uncle’s birthday. They were identical twins. I had never done a short film before, however, because I had that natural storytelling gene and the confidence gained by the theater experience, I jumped in and thought “What the heck - I can do this!” I researched (before there was google) and ended up editing the birthday film at a small production company. I had the birthday story outlined and edited on paper prior to working with an editor. The owner of the production company asked, “How long have you been a producer?” I told her I wasn’t a producer and she said, “Oh yes you are. If you ever want to work here, you have a job waiting for you.” So, after my divorce in 1997, that’s what I did. I took her up on her offer and was there for 3 ½ years, learning everything from producing, writing, proposals, budgets, directing and using the tools of storytelling through video, music, narration, images and graphics. I am grateful and value the experience I gained working there. I moved on with a dramatic short film I was asked to executive produce and I also cast the film, titled Grandfather’s Birthday (won a Regional Emmy) and soon after that, I started my own production company Whirlygig Productions, Inc (2002), producing mostly documentary nonprofit films. Many films later, my mission for my company (just me) has remained the same - “Telling stories that help us see ourselves and others in new ways, promote healing and connect us as human beings.” That mission set me up for every film project I have been involved with since 2002. I have shortened my mission to the tagline, “Shining a light on stories that need to be told.”

2. What’s harder? Getting started or being able to keep going? And what drives you to continue making films?

I believe that being able to keep going once your project is started is the toughest thing to do. There are reasons for this: 1. The excitement and incentive to start the project are energized and infused with optimism. 2. Next, the reality of raising more money sets in. 3. Getting real with yourself as to how you are going to make the production work; still trying to raise money while remaining true to your vision and keeping the momentum moving forward.

I believe what continues to drive me are the stories. I see what storytelling can do to raise awareness, touch hearts, and open minds. If I’m going to put my heart and soul into a project, I want to know it has the potential to connect with people in a meaningful way.

Making films is sort of like having a child. They are both a commitment and a labor of love. In the case of Stalag Luft III - One Man’s Story, it took me 9 years to finish as opposed to the 9 months gestation for each of my pregnancies. Like children, a film takes on a life of its own. We give our films all that we have, but also need to know when to let go and move on to the next story that needs us.

3. What are the next project or projects you are beginning to work on?

I have been in development on my current documentary film project Mecklenburg County since the fall of 2019. It is a story of racial injustice, the perpetuation of white supremacy, and the wounds of slavery. It follows two men who share the same last name – one black, one white – both from Charlotte, North Carolina in Mecklenburg County who discover a missing piece of themselves in each other. A story rooted in the South is also America’s story – one of slavery’s legacy, present-day racial divide, and the hope that by learning the truth, we can heal deep wounds that many of us have never faced.

4. What is your favorite aspect of film production?

I really enjoy the editing process. If you have done your research and prep work prior to shooting you will have the interviews, b-roll and sequences you need to tell the story. I transcribe all the interviews myself and edit the narration before handing off to the editor. From there, we collaborate. If you are missing some pieces, then you need to figure that out through creative problem-solving. It’s like a puzzle that sometimes does not have a piece to fit a particular sequence, so you have to imagine and create that while staying true to the story.

I love reenactment imagery if it’s done well. I have used reenactment for my last two feature documentaries, especially Stalag Luft III - One Man’s Story where we have several reenactment sequences that include: air battle and shoot down in a B-17, using green screen and VFX; the 70-mile Forced March in below zero weather. I live in Minnesota (similar to Germany) and we scouted the perfect forest and roads lined with tall pines; and discovered another location in Minnesota for the “letters from home” sequence where we discovered the perfect farmhouse. These reenactments bring in visual treatments and music that support the narrative and allow a break from the on-camera subject. For me, it’s an artistic representation and enhancement for the film that I find very rewarding and adds a great deal of production value.

5. Why did you choose to submit to the Breckenridge Film Festival? What do you look for in a festival where you hope to show your film?

I chose Breckenridge because another short dramatic film I Executive Produced and cast won “Best Dramatic Short” at BFF in 2001. Being an alumnus of BFF felt special. I love the spirit of BFF and feel that the festival is taken very seriously by its dedicated director Dianna Nilsson. The festival is very well curated and programmed. It’s what I call a boutique festival where you still get that larger festival experience without getting lost in the crowd. I was honored to be chosen and even more honored when our film Stalag Luft III - One Man’s Story won “Best Documentary Feature,” Audience Choice Award.

6. Where do you get your inspiration from?

I get my inspiration from people and their stories. I’m amazed by our humanity and incredible stories that live among us and came before us. Truth be known, we all have an inspiring story to tell. I need to be moved and feel that my efforts to serve as the conduit for a story will ultimately serve a greater good that inspires others. It all goes back to my mission statement, “telling stories that help us see ourselves and others in new ways, promote healing and connect us as human beings.” If we can do that, we will serve a greater good, provide an opportunity for better understanding, and embrace what connects us rather than what divides us. That’s the driver for me.