Co-Authored by Andrea Olson and Laine Kaplan-Levenson
How do we tell stories? We tell them on porches, around fires, over drinks, on the phone, v
ia text (or as ‘dem kids call it, ‘sext’), and now on the Internet. We have no choice but to adjust to the online environment for storytelling, and sometimes it feels like the medium has drowned the message in a sea of slick mash-ups, verbose cats and (insert current viral meme sensation here). In our quest to tell the story of the complex and unprecedented reconstruction of New Orleans from many points of view, the Land of Opportunity project has always demanded an eventual reach beyond the boundaries of a traditional feature film. Read more...
Traditionally when making a documentary, filmmakers present a film that reflects only a sliver of their amassed content. We shoot and shoot and shoot some more, then edit and cut the vast majority of the content to fit the hour or 90-minute mold dictated by broadcast or theatrical release. You see one streamlined version of events: the one we’ve authored and edited, no more no less. However, this shoot, slash and sausage method is no longer the be all-end-all for documentary films. 
It’s another week thinking about interactivity here at Land of Opportunity, especially after receiving the great news that we will be participating in the 
When Turkish filmmaker Nefin Dinc was a graduate student in Great Britain, she noticed that while her Greek friends and Turkish friends "liked each other a lot," they also repeated similar ideas about the other that favored their own country: "the Turkish side would say that the Greeks had 'Megali Idea', which means they want to expand and get Turkish lands still, and the Greeks would say that Turkey would attack Greece if she had the chance." Dinc realized that the basis for many 
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