by Terry Trahan Jr.

The art of captivating cinematography rarely stems from the mind of
a bayou native, projecting itself onto the silver screens of Hollywood and beyond. However, Cut Off resident Glen Pitre (with his entertainment company Côte Blanche Productions Inc.) manages to awe critics
and audiences with each successive effort.

“I grew up hearing stories as many did down the bayou,” Pitre recalls. “Movies as a kid were a rare treat. The only theater in town was a drive-in.”

Pitre’s passion for the moving picture led to his enrollment at Harvard University, where he graduated cum laude in 1977 possessing a degree in visual and environmental studies. To afford such a prestigious education, the filmmaker fished shrimp during the extended summers. His distinction later garnered an honorary doctorate and a knighthood from France.

After graduating, Pitre gained popularity for his “gumbo westerns” captured in the French dialect. His marriage to Michelle Benoit, who holds degrees from the American University in Paris and the University of New Orleans, sparked a creative partnership still evident today. The team jointly writes scripts for films and documentaries, yet Pitre especially
enjoys sitting behind the camera’s lens.

“When directing, there’s 150 people who want your attention,” he explains. “It’s a rush. You have to be prepared. There’s a very finite limit to how much you can experiment.”Pitre served as Louisiana’s film commissioner from 1989 through 1990 and was responsible for attracting filmmakers to the state to boost cinematic production. Due to contributions from the industry and private investors who believe in his projects and directing ability, Pitre has worked with budgets exceeding millions of dollars.

Devoted to wetlands restoration, Pitre contributed his talent to IMAX’s documentary “Hurricane on the Bayou” in 2006, solidifying his credibility as a writer and director able to carry a pertinent message to the masses. The film featured musicians Tab Benoit, Allen Toussaint and Amanda Shaw explicating the devastating cost of hurricanes pounding Louisiana’s fragile coast. The worldwide release illustrated local disparity, especially in wake of Hurricane Katrina.

“His heritage means a great deal to him,” says Jeanne Scott, co-director for PS... Productions in Houma who worked with Pitre during the wetlands project. “When he is doing these types of movies, the authenticity of his heritage is portrayed in his directing. He wants the people to appreciate the Cajun way of life.”

The cinematographer has worked on nearly a dozen films and countless documentaries, but he claims no favorite. “The one that’s about to come out is the favorite,” Pitre says. “When you’re in the process, it’s so
consuming. You can’t think of anything else.”

Recently, Pitre produced a project loosely rooted in Lafourche Parish history. The event known as the Thibodaux Massacre developed from a sugar cane workers’ strike in late 1887. Terrebonne, Lafourche and St. Mary parish plantations were affected, and 30 to 300 black strikers lost their lives.

Pitre wrote and directed “The Man Who Came Back,” which features a Southern town hero attempting to topple an aristocratic villain amidst the workers’ strike. Eric Braeden of “The Young and the Restless” portrays Reese Paxton, a Civil War veteran backing the plantation laborers. Meanwhile, James Patrick Stewart of “CSI” depicts Billy Duke, the son of a plantation owner, who plots against the strikers and their veteran supporter. Reese is imprisoned for murder after being framed by Billy. His wife and child are also killed. Just as Billy is finally satisfied, Reese returns in the face of adversity to administer long-deserved justice.

“The movie is inspired by the Thibodaux Massacre,” Pitre assures. “However, it was never intended to be a portrayal of those events. It’s taking historical moments, especially from south Louisiana, and using them to launch movies in different directions. They help people remember bits of local history.”

Though the plot is framed in plantation-rich Acadiana, the action was filmed in rustic Conroe, Texas, north of Houston. Pitre prefers rural locations when filming a southern gothic western, as he describes the genre. “You don’t have to dodge towers, antennas or air conditioners in windows,” he says. “It’s hard to recreate another time period.”

Pitre understands the significance of realistic acting and scenery in his productions. His attention to detail and care for the script are qualities his success is built on.

“You get the best performances out of people you’ve never heard of,” he says with a trace of irony. “You can’t get away with a bad performance.” PoV