Nate Freeman

Yale Law School 2011
Nate Freeman

Nate Freeman received his B.A. in Physics-Astronomy from Whitman College in 2004 and his J.D. from Yale Law School in 2011.  His activities at Yale included a focus on teaching and environmental law, as well as a stint as the student director for the school’s LGBT Litigation Project.  Nate also pursued his interests in dance, choreography, and music as a member of the Appellate Quartet and the Yaledancers company.  His passion for art and storytelling was a driving force that inspired him to join the Visual Law Project as part of the immigration film team.  Nate will spend the next year clerking for the Honorable Tena Campbell in Salt Lake City.

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Experts Wanted: Using Expert Testimony To Empiricize Anecdotes

At this week’s meeting, we somehow managed to attract two more fascinating guest speakers to our Visual Law Practicum. The first was Dave Saldana, who has been a producer, journalism professor, First Amendment lawyer, and communications director. Joe Friedman, who has acted as a director of photography at various points…
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Degrees of Truthiness

We opened our reading group with a discussion of the film Rashomon by Akira Kurosawa. The film addressed themes of loss of humanity, faith, and gender relationships; we began with the basic question of why the characters in Rashomon told the stories and lies that they told, and why people tell stories…
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Moss and Musser: Show Images that Say Something

Today, in contrast to our usual practice of screening complete films during our meetings, we thought it might be useful to see how filmmakers deal with problems as they come up during the course of production and editing. We invited Rob Moss and Charlie Musser to class in order to…
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Ellick from the New York Times: Ask The Stupid Question

Our guest speaker, Adam B. Ellick from the New York Times, arrived in class at 7pm. We screened several of his videos, including Tuning Out the Taliban and On Thin Ice. His discussion with us was divided into three basic parts: picking the story and characters; working in the field; and post-production. Once…
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Filmmaking Technique: Capturing Sound

Valarie opened this week’s meeting by conveying the notes of encouragement we had received in the last week from the Yale Law School administration, and their general excitement – and high expectations – for the films we are generating. Thanksgiving break represents a critical time for our films, and an…
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Post, Edelstein, and Larlham on Fugard’s “The Train Driver”

We were extraordinarily lucky today to take part in a conversation with three amazing guests. Our distinguished set of panelists included Robert Post, dean of Yale Law School; Gordon Edelstein, artistic director at Long Wharf Theater (and director of The Train Driver); and Daniel Larlham, a lecturer in Yale’s Theater…
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Filmmaking Technique: Framing and Exposure

Rebecca opened today’s meeting with a discussion of our newly prepared call sheet – which lists, among other details, sunrise/sunset times for filming that will enable us to time our shoots within an hour of sunset. We have also developed production guidelines: a list of reminders and basic principles that…
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Bazelon from Slate Magazine Talks Journalism Ethics

We were lucky to have another fantastic guest speaker this week. Emily Bazelon, who writes for Slate and the New York Times, answered a number of our questions about ethics in filmmaking and journalism. Her first piece of advice was to “choose an identity for this project and to be our…
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Film Teams See Success and Some Formidable Challenges

Today, our course began with a conversation with the national security team, which is looking into the kind of profiling that takes place at mosques. A member of this group noted her initial outreach to film subjects and described the group’s pre-interview research with coordinators and imams at mosques; some…
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Filmmaking Technique: Narrative Structure

Today, guest speaker Sharat Raju, director of the film Divided We Fall, offered a discussion of narrative structure and storytelling. The basic structure of any narrative, according to Sharat, goes as follows: there’s a person, this is what the person was up against, this is what happened, and this is the…
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