►
Description
Minneapolis Public Safety & Emergency Management Committee Meeting
A
Good
morning,
everyone
welcome
to
our
regularly
scheduled
meeting
of
the
public
safety
and
emergency
management
committee.
My
name
is
Alan
de
Cano
and
I'm
the
chair
of
this
committee.
This
morning,
I
am
joined
by
council
members,
Jeremiah
Ellison
council,
vice-president
Andrea
Jenkins,
councilmember,
Steve,
Fletcher
and
councilmember
Philippe
Cunningham.
Together
we
are
a
quorum
of
this
committee
and
therefore
we
shall
conduct
the
official
business
of
our
committee
today.
The
date
is
March
6
2019
and
our
on
our
agenda.
Today
we
have
four
items.
Item
number
one
is
a
receiving
file
of
public
comment.
A
Item
number
two
is
a
consent,
contract
amendment
with
Aspin
physiological
consulting
for
a
physiological
evaluation
for
911
personnel,
and
then
we
have
two
items
for
discussion.
So
if,
if
there
are
no
questions
in
the
agenda,
I
shall
just
go
ahead
and
adopt
the
agenda.
All
those
in
favor,
please
say:
aye
all
right
and
I
shall
note
that
we
have
been
joined
by
council
member
lenay
Palmisano.
So
the
first
item
on
our
agenda
today
is
a
public
comment
period.
A
B
I've
seen
this
happen
with
other
testing
that
they've
done.
The
other
concern
I
have
is
that
they
are
not
taking
viable
actions
in
the
center
themselves
to
support
the
psychological
health
of
the
employees,
for
instance,
they're
extremely
short-staffed
in
fact,
they're,
so
short-staffed
that
they
gave
this
staff
a
choice,
whether
they
wanted
to
work
on
their
days
off
or
they
could
be
mandatorily
held
for
four
games
out
of
their
regular
shift.
B
So
they
can
work
back
to
back
12-hour
days
for
four
days
in
a
row
and
a
guarantee
what
you're
going
to
start
seeing
is
sleep-deprived
employees
that
are
beginning
to
make
mistakes,
and
that
is
one
portion
of
the
city
where
you
do
not
want
people
making
mistakes,
but
it's
bound
to
happen.
There's
a
lot
of
stress
down
there
because
of
the
short
staffing
because
of
the
changes
that
they've
made
with
the
pro
QA
system,
and
we
can't
seem
to
get
management
to
admit
that
the
pro
QA
system
is
not
effective.
B
We
can't
seem
to
get
anywhere
on
that
and
it's
an
interim
director,
that's
making
these
decisions,
and
my
concern
is
this-
is
going
to
be
just
another
tool
to
get
rid
of
the
older
employees
who
have
been
there
and
get
into
new
people.
And
you
know,
new
people
aren't
is
apt
to
complain
about
conditions
because
they're
not
familiar
with
the
way
it
used
to
be
in
the
way
it
is
now
so
I
know
they
previously
used
to
have
a
peer
support
team
for
their
psychological
issues
with
staff.
B
They
also
had
debriefing
and
diffusion
situations
like
if
you
had
a
fatal
fire
like
the
one
northeast
or
fire
we're
a
firefighter
was
injured.
You
could
call
for
defusing
and
debriefing.
They
don't
have
time
for
that,
so
those
employees
just
continue
to
go
to
the
next
call,
with
no
psychological
support
for
that
at
all,
and
we
wouldn't
expect
our
Police
Department
to
do
that.
They
have
defusing
debriefings.
C
C
Now
we
didn't
get
any
notice
any
discovery
on
any
of
this.
At
the
time
these
cases
were
pending,
I
didn't
have
time
to
contact
the
lawyers
or
obviously
contact
the
clients
to
see.
If
that
is
a
request,
we
would
make
now
one
of
the
things
that
did
alarm
me
about
this.
Was
that
one
of
the
clients
and
that's
the
felony
client
and
is
actually
a
vulnerable
adult
she
lives
in
a
group
home,
she
was
she's
been
diagnosed
with
a
couple
of
psychiatric
diagnoses.
She
was
in
the
midst
of
a
breakdown
of
sorts.
C
She
was
taken
by
ambulance
to
a
hospital
where
she
had
a
breakdown,
which
is
where
these
charges
arose
and
what
occurred
to
me
is
there's
another
part
of
the
contract
that
says
that
the
filmmakers
have
to
try
to
get
any
release
from
the
person.
Anybody
who
was
in
the
film
and
I
have
no
idea
whether
she
is
or
what
would
be.
Obviously,
but
it
says.
If
you
can't
get
notification,
they
will
blur
out
the
face
or
something
of
that
nature.
C
But
then
it
also
says
if
that
person
is
identifiable
or
people
can
tell,
who
this
is
they're
not
liable,
and
what
occurred
to
me
is
another
problem
with
MPD
giving
inside
access
to
any
kind
of
filmmaker,
however
legitimate
they
are
and
I
certainly
have
met.
You
I
think
this
is
a
legitimate
film
project,
but
why
are
they
giving
access
inside
access
to
people
at
the
worst
times
in
their
lives?
C
I
still
have
major
concerns
about
this
contract
because
it
does
require
us
to
subpoena.
It
does
allow
the
filmmakers
to
assert
journalistic
privilege
if
they
wanted
to,
and
so
we
could
theoretically
go
down
the
path
that
we
went
with
the
first
48,
so
I
just
wanted
to
alert.
You
give
you
an
update
of
the
information
that
I
received
yesterday.
Thank
you.
A
Thank
you
for
being
here
appreciate
it.
Do
we
have
any
more
comments
today,
public
comments
about
any
items
relating
to
public
safety
and
emergency
management
right
we
we're
not
we're,
not
gonna,
get
into
a
discussion
with
with
folks.
Here
now
we
we
have
a
set
of
discussion
items
to
follow,
so
this
is
just
to
receive
and
file
public
comments
from
folks
who
came
here
today,
so
without
further
ado,
we
will
go
ahead
and
receive
and
file
the
public
comments
this
morning,
all
those
in
favor,
please
say
aye
aye.
A
A
D
A
Yep,
okay,
one
second
apologies
mr.
chose,
so
we
have
one
consent
item
that
needs
our
consent
to
move
forward.
The
contract
amendment
with
Aspen,
psychological,
consulting
for
psychological
evaluation
for
911
personnel.
All
those
in
favor,
please
say:
aye
aye
seems
like
we
might
have
one
question
on
the
item:
councilmember
Cunningham
I!
Don't.
E
E
This
was
something
that
I
actually
had
some
concern
with,
as
I
was
going
through
preparing
for
today's
meeting,
and
so
I
just
want
to
put
that
out
there
to
make
sure
because
it's
a
we
don't
want
to
just
be
punitive
and
say
folks
are
struggling
without
providing
support.
So
so
I'd
like
to
have
some
continued
conversation
like
that
and
with
that
so
I'll
abstain
from
that
vote.
Councilmember.
F
You,
madam
chair,
we
discuss
this
a
little
bit
in
agenda
setting
so
I'll
just
name
that
in
the
this
is
an
extension
of
the
police
contract
to
expand
the
scope
to
include
number
one
and
from
the
way
that
MPD
has
been
using
this.
It
actually
has
not
been
used
in
fitness
for
duty
on
the
employment
side,
even
though
that's
included
in
the
scope
of
the
contract,
it's
been
included
in
that
pre-hire
psychological
screening
and
they
found
that
very
useful.
F
A
H
C
G
E
A
E
H
E
Biggest
point
is
that
I
just
I
want
to
that
when
I
say
punitive,
it's
just
kind
of
I
want
to
make
sure
that
folks
aren't
getting
evaluated,
and
then
there
is
some
red
flag
that
comes
out
up
without
additional
supports
that
come
with
it
is
is
the
concern
that
I
mean
you
know
it's
like.
We
don't
want
to
red
flag
without
additional
supports,
and
it
would
be
nice
to
be
able
to
have
these
additional
supports
just
generally
speaking
with
911.
E
I
G
I
Councilmember
Jenkins
I'll
try
to
answer
that
question.
Obviously,
I'm
not
I,
don't
oversee
901
employees,
but
they
would
have
the
same
rights
to
any
city
staff
with
regard
to
employee
assistance,
so
I
would
assume
that
they
do
have
that
with
regard
to
the
fitness
for
duty
within
the
MPD
contract,
we
do
address
fitness
for
duty,
but
fitness
for
duty
is
specifically
identified
in
our
union
contract
and
has
specific
rules
and
regulations
about
how
you
would
use
fitness
for
duty.
I
Two
supervisors
have
to
independently
evaluate
the
individual
and
come
up
with
a
written
document
describing
why
they
believe
someone
needs
to
be
evaluated
for
fitness
for
duty.
You
can't
it's
not
something
that
is
just
an
arbitrary
process
and
that
is
laid
out
very
specifically
in
our
union
contract.
Exactly
when
you
can
use
fitness
for
duty.
So
that's
that's
why
we
have
that
included
in
our
contract.
With
this
agency.
I
Council
member
jenkins
I'll
try
to
answer
that
question.
I'm
not
exactly
sure
what
the
name
on
one
side
of
this
equation
is,
but
we
have
a
contract
that,
with
this
company
that
authorizes
pre-employment
evaluations
and
fitness
for
duty,
and
I
believe,
they're
trying
to
continue
on
with
this
contract
and
users
with
nylon
ones
responds.
We
can't
break
our
side
of
the
agreement
that
involves
for
MPD.
This
contract
includes
both
pre-employment
and
fitness
for
duty.
A
J
Just
wanted
to
I
guess
co-sign
counsel
over
Cunningham's
concern
and
say
that
if
we
can
get
some
clarity
between
now
and
the
end
of
the
meeting,
that's
great,
if
not
I
would
I
would
offer
with
us
to
delay
the
cycle
so
that
we
can
get
some
definitive
of
what's
included
and
what's
not
because
I
I
don't
want
to
vote
on
something.
That's
like
probably
likely
this
scope,
but
might
be
broader.
A
Robin,
oh,
thank
you.
I
didn't
see
you
Robin.
If
you
could,
please
help
us
I
apologize.
This
wasn't
consent
and
I.
I
didn't
realize
people
had
questions
about
this
item.
But
if
you
could,
please
explain
to
us
the
relationship
of
9-1-1
to
MPD
and
the
there
seems
to
be
questions
about
the
language
between
pre-employment.
K
A
E
A
Righty,
so
all
those
in
favor
of
making
that
motion-
please
say
aye
aye,
and
so
the
new
consent
item
shall
reflect
authorizing
an
amendment
to
contract
number
C,
4
3,
4
8
7,
to
expand
the
scope
of
services
to
provide
for
pre-employment
pre-employment
psychological
evaluations
for
Minneapolis
911
personnel.
Does
that
accurately
reflect
what?
Yes?
What
is
the
intent
is?
Oh,
yes,
thank
you.
Mm-Hmm
alrighty.
E
You,
madam
chair,
and
thank
you
Miss
McPherson
for
that
clarification.
Much
appreciate
it!
This
past
budget
cycle,
we
included
money
in
the
MPD
budget,
for
mental
health
and
wellness
and
I
think
for
there
to
be
more
work
around
mindfulness
and
emotional
wellness
and
I
think
it
would
be
good
for
us
to
think
about
this
and
expanding
that
into
911,
since
they
experience
a
lot
of
trauma
regularly
with
their
position.
So
just
want
to
just
name
that
thanks
cuz.
J
I
I
understand
that
mr.
Pierson
saying
that
that,
for
the
purpose
of
9-1-1,
this
is
not
going
to
be
used
for
for
fitness
at
duty,
but
just
wanted
to
say
get
that
sort
of
question
answered
directly.
So
will
there
be
any
will
this
contract
include
any
sort
of
fitness
for
duty
element
for
narrow
one
all
right?
So
that's
enough
that
we're
getting
thank
you
just
willing
to
clarify
that
for
the
public.
A
Okay,
so
I'm
not
seeing
any
more
questions
on
this
item
so
once
again,
all
those
in
favor
of
authorizing
the
contract,
amendment
with
aspen,
psychological,
consulting
for
psychological
evaluation
for
911
personnel,
please
say
aye
aye
and
that
item
moves
forward.
So
now
we
will
go
back
to
item
number
three,
which
is
a
discussion,
and
this
is
a
presentation
by
the
Minneapolis
Police
Department
on
access
procedures
for
media,
we're
ready.
I
I
First,
is
that
the
the
Pio
is
office?
They
are
the
ones
that
generally
received
these
requests,
really
a
lot
of
whether
it's
a
film
or
if
it's
just
research
in
general,
we
do
get
a
lot
of
requests
from
outside
agencies
to
come,
and
study
police
work
in
the
city
of
Minneapolis
always
seem
to
be
an
attractive
venture
for
some
people
and
those
requests
come
in
on
a
fairly
regular
basis
and
the
overwhelming
majority
of
them.
I
We
just
say
no,
no,
we
don't
have
the
time
or
the
staff
to
put
the
effort
into
some
of
them,
and
some
of
them
may
not
be
in
line
with
city
values
and
and
Department
values,
and
and
or
maybe
we
can't
vet
them
for
one
reason
or
another
or
not
understand
what
what
the
purpose
is
overwhelming
majority.
We
just
turn
away
and
say
we're
not
going
to
be
involved
in
this
and
in
many
of
those
situations,
especially
research
ones.
I
They
will
just
turn
to
a
different
Avenue
and
in
in
file
and
data
requests
for
whatever
data
they
they
want,
and
almost
all
of
our
data
is
public
data.
Very
limited
data
would
not
be
public,
so
that's
just
the
aspect.
They
go
and
eliminate
us
from
the
process
of
being
part
of
either
blessing
or
agreeing
with
the
study
or
the
or
the
program
so
moving
forward.
This
is
our
process
and
you
I,
believe
we've
received
a
copy
and
any
requests
that
come
in
will
go
through
our
Pio
as
office.
I
We'll
do
some
sort
of
embedding
with
the
Peet
director
of
the
Pio
speaking
with,
if
he
needs
to
speak
to
legal
counsel
or
bring
something
to
elected
officials.
To
discuss.
Is
this
some
area
that
you
would
want
us
to
be
involved
in?
That
will
be
a
vetting
process
that
the
Pio
is
office
will
go
through
and
it
has
been
a
standard
practice
for
us
in
the
chief's
office.
Any
time
we
get
something
some
requests
for
involvement
from
an
outside
agency.
I
The
first
thing
we
do
is
reach
out
to
the
City
Attorney's
office
and
have
them
review
it
and
give
us
some
advice,
whether
it's
something
that
is
good
for
the
city
and
something
we
should
be
involved
in
and
some
sort
of
recommendation.
That's
that's
been
a
standard
process.
The
first
step
here
under
number
one
is
to
go
through
the
standard
city
procurement
process.
If
it
does
appear
that
our
counsel
tells
us,
this
is
something
we
should
be
involved
in
or
we
should
agree
to.
I
I
Okay,
all
right
and
then
the
second
category
here
number
two
is
presence
of
non
city
staff,
and
that
would
be
the
the
researcher
just
or
the
video
crews
or
any
of
that
if
they
were
to.
If
there
was
an
agreement
and
we
decided
to
move
forward
with
the
project,
we
would
detail
exactly
what
their
access
is
going
to
be
keep
records
of
it,
keep
tabs
of
when
filming
or
anything
like
that
happened
in
this
particular
situation.
I
At
the
public
defender,
Mary
Moriarty
has
pointed
out,
there
were
three
individuals
that
came
to
their
office
and
and
came
through
their
process
and
Sergeant.
Darcy
horn
has
researched
every
case
there
and
provided
that
information,
and
that
was
requested,
and
that
does
not
appear
at
least
from
our
viewing
in
those
cases
to
be
any
video,
that's
related
to
any
charges
that
have
moved
forward
and
if
we
have
any
specific
questions
sergeant,
Darcy
horn
has
all
the
reports
with
her.
I
Well,
if
for
criminal
charges,
the
the
video
is
submitted
in
the
kindness
city
or
see
the
attorney
or
the
county
attorney
who's
prosecuting
that
case
would
make
a
determination
as
to
whether
it's
you
know
going
to
be
presented.
But
it's
it's
it's
available
to
both
the
the
prosecution
and
the
defense.
If
it's
a
part
of
a
evidence
from
a
case,
so
then.
J
In
the
instance
of
like
a
documentary
film
who's,
you
know
I
I,
get
that
like,
while
I
trust
your
judgment,
and
you
know
other
folks-
it's
not
really
about
that.
I
guess
I'm,
just
wondering
who,
in
this
instance,
is
sort
of
making
that
determination
to
say
that
footage
is
or
is
not
in
the
case
of
footage
that
we
don't
sure.
I
For
I
mean
I
can
only
speak
to
either
the
future
or
past
what
has
happened
and
when
we've
had
situations
where
there
was
some
video
recorded
and
it
wasn't
our
property,
it
was.
A
judge,
has
been
the
deciding
factor
of
relevancy
the
video
provided
to
a
judge
for
review,
and
that
judge
determines
whether
this
relevancy
so.
J
I
guess
that
kind
of
leaves
me
this
question
more
specifically,
in
this
case
who's
made,
who
has
who
has
I'm
just
trying
to
help
myself
understand?
Who
has
made
the
determination
that
the
footage
so
far
with
regard
to
these
three
cases
that
you
know
went
through
the
PDS
office?
Who
had
made
the
determination
that
that
footage
isn't
relevant
and
I'm,
not.
I
Only
from
the
knowledge
that
I
have
from
speaking
of
my
colleagues
I
believe
it
was
vetted
to
the
City
Attorney's
Office.
From
my
own
knowledge
of
these
three
cases,
I
was
told
two
of
them
or
dismissed
cases,
so
they
didn't
go
forward
and
one
was
a
warrant
arrest.
So
there
was
no
additional
charges,
so
there
was
no
need
for
any
sort
of
prosecution
moving
forward
with
them.
Okay,
thank
you.
F
L
L
L
So
as
we
look
at
the
possible
reports
that
were
made
tickets
that
were
written
during
the
time
that
the
film
crew
that
same
dates
I'm
not
sure
the
time
limit,
even
that
the
film
crew
stayed
with
officer
Garbowsky,
she
worked
DogWatch,
which
starts
8:30,
9:00
p.m.
and
works
throughout
the
early
morning.
L
So
when
we
looked
at
the
data,
there
were
three
cases
again
as
a
city
attorney
assistant
city
attorney,
Osborn
said
to
appeared
to
be
dismissed,
and
there
was
one
that
was
a
damage
to
property
case
that
a
warrant
had
gone
out
on
and
when
officer
Garbowsky
met
that
individual
that
individual
was
taken
into
custody
under
the
warrant.
So
there
were
no
evidence,
nothing
of
the
case
at
the
time
she
was
taken
into
custody.
L
A
I
Right,
so
if
we
get
to
a
situation
where
that
we've
vetted
a
request
to
do
something
in
the
future,
we've
gone
through
the
council
and
gotten
approval
and
we've
got
a
contract
that
is
going
to
move
forward.
The
third
category
there
is
our
Pio
will
work
directly
with
the
city
communications
department,
so
that
the
whole
city
is
aware
of
what's
taking
place,
moving
forward,
there's
no
reason
that
we
would
not
want
them
to
be
fully
aware
of
any
anything
moving
forward.
Both
the
mayor's
office,
City,
Attorney's,
Office
city
communications.
Everybody
should
be
aware
of
this.
I
In
this
particular
case.
I
can
tell
you
that
the
first
time
that
I
became
aware
of
this
was
contact
from
the
from
the
Hennepin
County
Medical
Center
called
and
said
they
saw
a
camera
out
on
a
scene
and
contacted
the
chief's
office
and
said,
what's
going
on,
what
are
you
doing
and
and
specifically
that
was
related
to
a
paramedic
saying?
Well,
there
was
a
film
crew
with
this
officer,
and,
and
so
we
had
to
backtrack,
to
figure
out
who
approved
this
and
it
turned
out.
I
It
was
pre-approved
by
the
previous
administration,
and
that
was
how
we
actually
were
alerted
to
this
all
in
the
future.
That
isn't
going
to
happen,
because
that's
part
of
the
reason
we
really
pushed
for
a
director
over
our
Pio
as
office,
so
that
we
have
somebody
that
we
can
have
that
tracks.
These
things
and
stays
on
top
of
them.
I
Hopefully
you're
an
agreement,
and,
following
with
that
document
that
was
submitted
to
you,
is
all
our
current
policies
with
regard
to
media
and
police
officers,
and
basically
our
policies
restrict
police
officers
from
having
interaction
with
the
media
without
referring
them
up
the
chain,
and
so
they
can
go
through
a
vetting
process
and
almost
all
of
our
policies
specifically
state
to
refer
a
request
for
any
media
information
up
through
the
PIOs
office,
which
falls
right
in
line
with
having
a
director
over
that
position.
That
can
determine
what
is
the
right
path
to
take.
Moving
forward.
E
I
So
it
falls
in
our
violation:
category
of
A
to
D,
which
is
a
would
be
a
non
disciplinary
and
D
is
our
highest
level
of
discipline.
So
if
there
was
a
violation,
it
would
go
through
the
standard
process
of
going
through
an
internal
affairs
or
office
of
police
conduct
and
review
investigation.
They
would
send
it
to
the
chief's
office.
F
Thank
you,
madam
chair
I.
Guess
I
want
to
think
about
this
procurement
process
a
little
bit
and
hearing
that
we
get
a
lot
of
requests
and
then
we
kind
of
make
determinations
about
which
things
are.
You
know
we
see
value
and
I,
guess,
I'm,
wondering
and
I
think
a
lot
of
people
would
be
wondering
kind
of.
How
are
we
making
that
decision,
because
I
can
imagine
requests
that
are
research,
questions
that
sound
like
they
have
assumptions
that
are
that
have
a
particular
political
valence
right.
F
So
if
a
documentary
filmmaker
who
was
aligned
with
let's
say
the
black
lives
matter,
movement
wanted
to
do
a
documentary
and
wanted
access,
as
opposed
to
someone
who
has
been
involved
with
a
law
enforcement
for
many
years.
You
know
I'm
wondering
what
sort
of
safeguards
we
have
about
sort
of
internal
biases
and
how
we're
interpreting
what
the
city's
values
are
and
and
what
we
think
is
going
to
be
beneficial.
F
I
You
know
at
this
point
you
are
relying
on.
If
the
request
comes
to
the
police
department
that
the
police
administration
would
be
the
ones
that
would
review
it
initially
before
we
even
brought
it
to
you.
Of
course,
we
probably
get
some
requests
that
come
through
Council
as
well
I'm
sure
your
office's
sometimes
may
get
every
question.
I
You
would
submit
that
to
us,
and
you
know,
obviously,
if
you've
submitted
it
to
us,
we're
going
to
take
a
real
honest,
look
at
it
and
review
it
with
legal
counsel,
because
they
can
advise
us
as
to
is
there
liability
for
the
citizens
of
Minneapolis
in
the
in
the
city?
If
we
go
down
a
path,
maybe
isn't
a
path
we
should
be
on,
so
we
don't
just
bet
those
on
our
own.
It
is
important
to
run
them
past.
The
City
Attorney's
Office.
F
Thank
you.
The
other
thing
I
wanted
to
ask
about
is
I
I
think
in
some
ways
this
this
feels
responsive
and
I.
Think
particularly
the
step
to
about
sort
of
tracking
when
somebody
had
access
feels
responsive
to
some
of
the
issues
that
the
public
defender
is
raised.
That
I
think
is
really
valid
once
but
I
guess.
I
Would
believe,
and
I
probably
referred
to
the
attorney
in
the
room
to
discuss?
Can
we
mandate
that,
but
I
would
believe
that
that
would
be
negotiated
into
any
contract
that
we
would
bring
forward
with
you?
It
should
just
it
should
address.
Who
has
access
to
the
video
and
how
do
you
get
access
to
the
video.
H
Madam
chair
councilmember
Fletcher
in
this
contract,
I
believe
the
contract.
That's
the
next
agenda
item
we
did
put
in
the
contract
that
the
filmmakers
would
provide
us
access
to
the
footage
if
it
came
up
in
the
context
of
a
criminal
case.
It
is
also
true
that
in
the
agreement
at
that
point,
we
would
together
go
to
the
judge
in
the
underlying
criminal
case
and
get
the
court
to
do
the
analysis
of
whether
or
not
the
footage
is
necessary
to
the
defense
or
prosecution
of
the
case.
Whoever
might
be
requesting
the
data.
F
Thank
you
for
that.
I
I
think
we
have
to
have
a
clear-headed
conversation
about
the
the
project.
That's
already
in
progress
and
figure
that
up
and
I
guess
I'm
asking
this
is
our
policy
for
the
future
right.
So
what
would
we
ask
of
the
next
project
that
comes
through
and
so
I
want
to
make
sure?
Are
we
able
to
provide
a
requirement
that
they
would
provide?
F
I
One
additional
comment:
if
I
can
on
that
any
contract
we
would
bring
forward,
you
would
vote
on
and
a
fee.
If
you
wanted
amendments
or
changes,
we
would
have.
We
could
go
back
and
and
and
make
those
amendments
for
you,
because
we
would
we're
not
hiding
anything
here.
We
would
bring
it
to
you
so
that
type
of
request
or
demand
in
a
contract
would
be
spelled
out
in
that
contract.
A
If
you
chose
I,
do
have
a
couple
of
questions
here
so
just
curious:
how
much
involvement
did
the
Department
of
Communications
have
with
the
crafting
of
this
protocol
or
procedures
I'm
just
curious,
because
I
I
know
that
they
probably
deal
with
a
lot
of
similar
issues
about
access
to
certain
videotaping,
whether
it's
Public
Works
employees,
working
or
other
employees
throughout
the
enterprise?
Was
there
any
sort
of
sharing
of
information
or
collaboration
with
the
communications
department?
I
will.
I
L
A
A
Department,
directors
do
and
the
chief
being
one
of
them
so
I'm,
trying
to
figure
out
what
the
nature
of
that
contractor
agreement
was.
If
there's
any
information
that
exists
about,
was
it
a
verbal
agreement
and
I'm
asking
because
there
was
another
piece
of
information
shared
with
us
by
our
City
Attorney's
Office
that
talks
about
how
we
as
an
institution,
gave
an
indication
that
would
be
we
would
be
participating
in
this
project
and
therefore
to
not
advance.
I
So
I
will
try
to
answer
that.
Chair
kind
of
the
you
are
correct
in
and
and
I
will
defer
to
counsel
if
I'm
incorrect
in
anything
I
say
at
this
point,
because
I'm
only
going
to
speak
to
what
I've
been
told.
I
mentioned
earlier
that
the
first
we
even
found
out
about
this
was
kind
of
through
a
backdoor
phone
call
to
us
from
an
outside
agency,
and
it
does.
I
So
I'm
not
aware
of
a
written
contract
that
was
put
in
place
at
the
time
of
the
verbal
agreement
with
this
and
and
so
what
we're
trying
to
establish
here
is
a
police-department
process
of
how
we
would
move
forward
in
the
future
and-
and
we
have
not
put
out
it
in
administrative
announcement
on
this.
We
wanted
to
come
before
you
and
seek
advice
from
the
council
as
well
before
we
create
a
policy
on
this
issue
direct
policy.
A
So
I'm
curious
how
you
feel
this
policy
addresses
that
you
know
the
I
heard
the
term
of
starting
journalistic
privilege
over
certain
parts
of
information
or
data,
and
so
you
know,
let's
say
we're
working
with
a
really
good
journalist
or
media
company
or
film
production
partner.
That's
sensitive
to
those
issues
and,
let's
say
we're
working
with
someone
who
doesn't
care
about
that.
They
just
care
about
reflecting
the
reality
of
things
and
so
I'm.
Just
wondering
how
you
feel
this
policy
right
now
would
would
interface
or
respond
to
the
notion
of
you
know.
A
There
is
an
interest
in
in
public
transparency
and
public
accountability,
and
that's
why
we
have
things
like
police
body
cameras.
We
are
wearing
one
right
now
and,
and
also
this
notion
of
how
do
we
protect
folks
in
their
lowest
moments,
if
they're
being
videotaped
or
are
being
parents
are
part
of
a
project
that
they
may
not
be
aware,
they're
part
of
when
it's
happening,
yeah.
I
That
is
a
significant
issue
to
move
forward
with
any
of
these
projects.
As
you're
aware
body
cam
video
is
classified
as
private
data
unless
there's
a
few
caveats
that
make
it
public
data
and
that's
always
a
risk
if
they're
going
to
be
involved
with
any
video
process
moving
forwards.
That
is
that
data
private
or
is
a
public,
and
that
is
something
that
should
be
included
in
any
contract
with
the
company
that
you're
willing
to
move
forward,
that
they
provide
the
same
protections
that
we
provide
from
our
body.
I
Cam
protections
for
those
people
that
you
come
into
contact
with
I
know
even
in
doing
some
smaller
projects.
Over
my
time
with
the
police
department,
we
are
required
that
the
officers
involved
have
to
be
voluntary
as
well
are
their
faces
aren't
to
be
shown
either.
We
provide
that
you
know
we
provide
that
same
protection
to
those
who
we
come
into
contact
with
and
that,
if
so,
that
should
be
built
into
the
contract,
that
it
is
the
same
level
of
privacy
as
our
video.
J
Well,
I
know
questioning
got
a
little
scrambled
when
I
heard
that
this
was
that
this
whole
project
was
on
a
verbal
agreement.
I
didn't
quite
know
that
until
until
now
and
that's
pretty
shocking,
when
we
talk
about
accountability,
especially
you
know
with
with
all
of
us
who
are
public
servants
right
yourself
and
I-
are
both
public
service,
but
especially
with
public
servants
who
are
allowed
to
carry
weapons
right
and
and
we've
got
footage
out
there
and
we've
got
all
based
on
a
verbal
agreement.
J
That's
like
seems
like
a
real
breach
of
accountability
and
it
feels
like
the
opponent's
as
an
isolated
incident.
It's
it's.
It's
maybe
not
the
biggest
deal
in
the
world,
but
when
I
think
about
all
the
things
that
we're
trying
to
do
as
government
to
create
accountability
of
build
trust.
That
feels
like
quite
a
breach
of
account
to
be
doing
such
a
big
project
with
with
institution
like
the
police
department
on
a
verbal
contract,
that's
kind
of
blows
my
mind
a
little
bit
I.
J
But
that's
not
quite
journalism,
and
so
you
know
maybe
the
at
some
PI.
Another
filmmakers
will
probably
speak
and
be
able
to
answer
that
in
their
own.
But
are
we
making
inappropriately
conflating
documentary
filmmaking
with
journalism
when
they're
not
necessarily
the
same
thing
and
and
I
guess
I
guess?
My
more
direct
question
is:
was
the
purpose
of
this
video,
for
you
know
humanization
of
officers
and
recruitment,
or
was
there
sort
of
long
ago
investigative
reporting
sort
of
element
to
this
project
so.
I
I
will
leave
the
answer
to
the
question
as
to
the
purpose
of
the
video
to
the
company
that
came
to
us
with
the
request
I
when
I
spoke
to
the
the
benefit
of
potentially
helping
us
with
recruitment
and
humanizing
officers.
That
is
something
we
saw
as
a
benefit
outcome
that
could
potentially
be
a
benefit
to
the
city.
I,
don't
I'm
not
trying
to
speak
to
the
purpose
of
the
the
research
and
the
what
was
taking
place.
I
J
J
Right
and
then
my
last
question
would
be
for
our
legal
counsel,
it
does
feel
like,
and
this
is
not
a
comment
on
anybody
sort
of
intent,
but
it
does
kind
of
feel
like
the
question
before
us
here
is
that
we
were
being
asked
to
you
know,
sort
of
legitimize
a
process
that
was
really
kind
of
mucked.
Up
from
the
beginning,
we've
got
a
contract
under
a
verbal
contract,
footage
being
shot
and
underway
for
possibly
multiple
years
before
we're
even
getting
anything
in
writing
and
I.
Guess
I'm.
J
Just
sort
of
you
know
sort
of
concerned
that
we're
asking
that
we're
being
asked
to
sort
of
put
in
the
contract,
something
that's
been
informally
underway
and
that
you
know
do
we
did
we
do
this
often,
and
you
know,
or
should
we
be,
you
know?
Are
there
other
options
for
us?
As
far
as
you
know-
and
this
is
a
hypothetical
I'm
not
proposing
this
but
like
which
should
we
be
making
an
effort
to
you
know,
do
away
with
this
project
altogether
and
just
pursue
the
footage
that
you
know
might
contain
citizen?
C
G
J
I
guess
I'm
I'm
concerned
that,
if
they're
with
the
lack
of
transparency
that
has
occurred
so
far
and
with
us
being
asked
to
sort
of
legitimize
this
process,
that
has
possible
a
considerable
amount
of
unknowables
about
like
what's
been
shot
about,
you
know
that
kind
of
stuff
are.
We
gonna
then
approve
this
contract
and
then
find
out
that
we
have
a
huge
problem
after
we've,
you
know
sort
of
legitimize
a
process-
that's
been
not
so
transparent
so
far,
and
then
what
and
then
what
does
that
sort
of
leave
the
put
us
on
the
hook?
J
H
J
H
Councilman,
bread
that
would
not
be
a
significant
concern
of
mine.
Oh
if
these,
the
the
filmmakers
on
this
particular
project,
I,
think
took
steps,
and
you
can
ask
them
yourself
in
a
few
minutes
to
make
sure
that
people's
information
was
well-guarded
and,
in
fact
it's
part
of
the
terms
of
the
proposed
written
agreement
addresses
some
of
that
too.
So
I
wouldn't
have
significant
I
believe
there
have
proceeded
all
along
with
the
understanding
that
that's
how
they
would
treat
that
information.
Okay,
thank
you.
I.
F
Thank
you,
madam
chair
I,
hope
we
can
kind
of
move
this
along
and
get
to
the
filmmakers
who
flew
into
town.
For
this
conversation
and
and
I'm
kind
of
sorry,
you
got
caught
up
in
this
I
did
in
a
way
we
just
we've
had
some
procedural
gaps
that
were
exposed
through
this
process
that
are
really
not
the
filmmakers
fault.
So
I'm,
looking
forward
to
hearing
from
you
and
we'll
figure
that
out
in
a
second
but
I,
think
for
this
I
think
I.
F
F
F
Both
some
things
that
we
would
require
in
contracts
because
I
think
it's
important
to
have
it
in
the
policy
document.
I
know
we'll
get
a
chance
to
approve
the
contracts
and
we're
putting
that
in
motion,
but
I
think
giving
anybody
who's
asking
for
access
upfront
and
guidance
about
what
we're
gonna
expect
from
them
so
that
they
know
and
can
kind
of
make
judgments
about.
That
I
think
is
valuable,
so
I
think
it's
worth
having
it
in
a
published
policy
document
to
say
that
we're
gonna.
F
Expect
in
the
contract
to
be
able
to
protect
people's
privacy
in
those
moments
and
the
organ
I
expect
in
the
contract
a
sort
of
guarantee
of
access
to
the
footage,
or
at
least
that
we're
gonna
weigh
that
in
what
kind
of
access
we
give
right,
I
mean
we
we
get
into
some
very
thorny,
First
Amendment
issues.
If
we
start
asking
journalists
to
turn
over
their
notes,
err,
you
know
and
there's
things
that
we
can't
do,
but
we
also
knowing
that
we
can't
ask
for
that.
F
We
make
decisions
about
what
access
we
give
them
right,
and
so,
if
we're
giving
special
access
that
we
think
exposes
a
system
liability.
If
we
can't
get
access
to
those
notes
that
we
need
to
be
able
to
expect
and
require
those
notes
right
and
so
having
some
sort
of
a
policy
that
then
maybe
does
lay
out
you
know.
Maybe
it's
not
journalists,
slash
researchers.
F
J
Say
that
you
know,
while
I
really
chose
trust
the
judgment
of
a
see,
Jose
and
and
and
chief
Londo,
you
know,
there's
gonna
be
a
future
where
it's
not
you
sitting
behind
that
podium.
It's
not
me
sitting
behind
here.
I
think
that
I
think
that,
if
we're
going
to
be
setting
a
standard
that
could
maybe
be
waivable
right
upon
consideration,
then
I
think
that
we
should
be
entering
with
these
conversations.
J
Assuming
that
the
footage
should
be
public,
the
I
don't
want
that
to
be
the
the
blanket
standard
for
every
filmmaker
to
have
to
go
through,
but
I
think
that
that
has
nothing
to
do
with
my
opinion
of
any
filmmaker
as
more
to
do
with
the
fact
that
it
seems
as
a
city
and
as
a
department.
We
go
through
these
absent
SLOS,
with
transparency
and
I
think
that
we
need
the
status
set.
A
standard
with
transparency.
J
You've
stepped
up
here
and
I
appreciate
you,
you
and
the
chief
stepping
up
here
to
create
some
transparency
in
this
issue,
and
but
you
were
trying
to
fix
a
problem
where
the
where
the
level
of
transparency
was
or
the
lack
of
transparency
was
offensive.
Certainly
offensive
to
my
sensibilities
as
a
as
a
public
servant,
I
hope,
I
hope
it
would
offend
other
folks
who
are
hoping
to
serve
the
public,
and
so
I
would
say
that
this
policy
should,
you
know,
should
set
the
standard
that
hey.
If
you're
gonna
come
and
film
a
documentary
film.
J
The
footage
is
going
to
be
public
and,
if
you
feel
like
it
really
shouldn't
be,
let's
sit
down
and
have
a
conversation,
but
I
feel
like
that's
the
standard
that
we
should
be
setting
until
we
can
until
we
can
build
enough
trust
to
say
that
that
the
department
is
going
to
be
diligent
in
respect
in
in
protecting
residents
of
the
city.
I
feel
like
the
way
that
this
project
was
engaged
from.
J
The
get-go
does
not
give
me
a
lot
of
confidence
that
the
prior
to
this
current
administration
was
interested
in
protecting
the
residents
of
our
city
and
that's
our
reflection
on
the
filmmakers,
that's
more
of
a
reflection
on
the
city
as
an
institution
on
MPD
as
an
institution
and
now
and
not
a
reflection
on
any
individuals
intent.
But
that
would
be
my
suggestion
about
how
we
how
we
proceed
forward
and
if
we
wave
that
wave
it
if
we
find
good
reason
to,
but
that
would
be
my
suggestion.
F
Humanitary
I
appreciate
the
call
for
transparency,
but
I
actually
think
that
saying
the
footage
would
be
public
by
default,
actually
doesn't
necessarily
achieve
that
in
a
lot
of
ways.
What
we
really
want
is
to
make
sure
that
people
who
have
a
need
for
it
have
access
to
it,
but
I
actually
worry
about
the
flip
side
of
this,
which
is
if
people
are
vulnerable
and
anybody
can
access
that
footage.
I
mean
there's
a
reasonable
body.
F
So
I'm
not
sure
that
I'm
not
sure
that
I
would
want
to
blanket
classification
of
data
as
public,
but
I
would
want
to,
and
I
also
am
worried
that
that
would
depress
sort
of
suppress
documentary
filmmakers
interest
in
doing
this
work
right,
because
they're
they're,
generating
intellectual
property
by
shooting
I
mean
it's
the
whole,
like
you
know,
sort
of
stock-in-trade
for
the
work
so
I
think
I.
Don't
necessarily
want
to
discourage
these
projects,
I'm,
not
sure
public.
J
So
that
the
footage
should
be
treated
like
no
different
than
body
cam
footage,
then
I
think
would
be,
would
be
a
good
standard
and
my
public
I
mean
publicly
owned.
I
mean
you
know,
folks,
having
having
a
right
to
this
footage
and
not
just
have
to
be
retrieved
via
subpoena
or
or
by
having
a
good-faith
agreement
with
the
filmmaker
I.
Don't
think
that
should
be
the
standard.
A
We
need
to
fortify
it
I
I
do
think
it
would
be
interesting
to
have
the
communications
department
weigh
in
and
sort
of
advise
at
this
level
too.
This
is
a
very
complex
subject
and
we've
had
very
dynamic.
We've
had
very
dynamic
presentations
about
data
practices
and
the
such
in
a
variety
of
committees
throughout
the
last
year
or
so
in
on
the
council.
So
so
this
is
the
I
think
a
good
step
forward,
a
good
step
in
the
right
direction.
I
do
think
it
needs
more
work
and
we
certainly
heard
some
questions
and
concerns
and
help.
A
Mk
MPD
can
take
some
of
these
themes
and
continue
to
work
on
them
at
the
departmental
level
and
I
believe
that
we,
we
do
have
some
appetite
here
from
our
city
coordinator,
as
well
as
some
council
member
sitting
here
today
to
see
how
we
can
take
this
up
at
the
Enterprise
Committee
and
look
at
this
as
a
as
a
organizational
wide
practice
as
it
relates
to
many
of
the
other
important
themes
that
the
Enterprise
Committee
has
taken
up
around
these
issues,
around
additive
information
and
and
sharing
of
information
with
the
public.
So.
A
So
I
just
wanted
to
go
ahead
and
there
was
a
motion
on
the
floor
to
a
receive
and
file
to
go
ahead
and
approve
the
receive
and
filing
of
this
presentation
by
the
Minneapolis
Police
Department,
all
those
in
favor,
please
say
aye
aye
and
that
moves
forward.
We
now
have
our
item
on
the
agenda,
which
is
taking
up
the
authorization
of
the
contract
with
between
the
Minneapolis
Police
Department
and
the
blue
blue
pictures
LLC
to
film
Minneapolis,
Police
Department
women
in
law
enforcement.
M
Sure
hi
I
just
want
to
thank
you
first
for
inviting
us
to
participate
in
this
meeting.
If
you
could,
please
start
with
your
name,
yeah
sure,
I'm,
Beth,
Levison
I'm,
the
producer
of
women
in
blue
I'll.
Tell
you
a
little
bit
more
about
myself
in
a
minute.
I.
Just
really
do
want
to
thank
you.
I
want
to
thank
assistant,
city
attorney,
I
was
born
and
I
want
to
thank
assistant,
chief
Jose
and
Pio
officer
or
horn
for
being
here.
M
M
I'll
just
introduce
myself
first
I'm
an
independent
producer
in
New,
York
City
I've
been
doing
what
I
do
for
the
last
20
years.
I
do
primarily
social
issue,
documentaries,
and
many
of
them
are
about
women,
so
just
as
and
and
many
of
them
are
for
public
media,
so
Deirdre
and
I
joined
forces
in
2017
and
she'll
talk
a
little
bit
about
us
and
herself
in
our
process.
Hi.
N
Thank
you
all
my
name
is
dirt.
Official
I
am
the
director
of
women
in
blue
and
I.
Am
a
longtime
independent
documentary
filmmaker
who's
made
a
career
out
of
telling
the
stories
of
women
that
I
do
not
believe
have
been
represented
in
mainstream
media.
My
last
film
care
was
about
the
other
care
crisis
in
America,
told
through
the
lens
of
underpaid
home
health
aides,
who
are
largely
women
and
the
elderly
that
they
care
for
and
I
came
to
this
project.
N
N
I
now
know:
Manny
Sally
Norris
of
the
NYPD
and
I
wanted
to
know
how
that
could
have
happened,
and,
quite
frankly,
if
it
could
have
happened
on
her
watch
and
what
haunted
me
wasn't
just
that
she
actually
admitted
that
she
did
not
believe
it
could
have,
but
the
words
she
said
she
would
have
started
the
interaction
with
which
is
hello.
My
name
is
Sally
Norris.
What's
yours,
and
in
the
humanity
of
that,
this
is
before
I
really
understood
anything
about
de-escalation
techniques.
N
I
did
start
to
think
about
women
and
I
thought
is
this
Sally?
Do
women
do
something
different?
It
was
just
nothing.
I
had
ever
thought
of.
Gender
was
never
an
issue
was
always
race
in
terms
of
thinking
about
policing
and
when
I
found
research
going
back
to
the
1990s,
showing
that
women,
in
fact
do
tend
to
use
less
force
and
they
do
tend
to
communicate.
N
N
It's
you
know.
It's
we
have
always
been
in
independent
documentary.
We've
always
been
an
investigative
journalism
that
was
always
we
were
never
chief
harteau
was
always
very,
very
clear
that
we
wanted
to
to
be
independent
journalist
and
to
really
explore
these
issues
because
of
what
what
was
very
important
to
us
and
I
want
and
I.
N
We,
our
goals
for
the
film,
are
to
have
a
national
conversation
about
the
role
that
women
could
potentially
play
in
policing,
as
well
as
contribute
to
a
dialogue
around
meaningful
police
reform
reform.
That
is
understood
in
the
context
of
the
reality
of
what
police
officers
do
face
and
we
we
got
just
so
you
know
it
was.
The
decision
was
made.
Chief
harteau
did
was
the
person.
It
was
not
the
current
administration,
there
were
many
many
emails.
N
It
was
a
paper
trail
of
that
and
we
did
begin
with
the
understanding
that
no
police
officer
would
be
in
the
film
if
they
did
not
want
to
be
in
the
film
and
we've
had
released
from
everybody
from
the
beginning.
So
there's
never
been
any
misunderstanding
that
this
would
be
a
production
that
would
go
out
into
the
world
and
that
people
were
signing
a
very
stringent
legal
release
that
gave
us
access
to
to
these
filming's.
N
Yes,
I
just
also
want
to
say
that
chief
Rondo
and
and
the
department
in
the
change
of
the
administration
did
understand
that
we
were
there.
I
met
with
the
chief
was
there
at
a
filming
in
September,
and
he
I,
he
did
say.
I
will
allow
this
verbally
to
go
on
and
at
that
time,
from
my
point
of
view,
as
a
as
a
journalist
and
as
an
independent
filmmaker,
it
felt
to
me
that
the
department
was
interested
in
transparency.
So
it's
interesting
yeah.
M
This
is
an
independent
media
project,
so
we
do
have
independent
funding
and
I
thought.
I'd.
Tell
you
a
little
bit
about
that.
Women
in
blue
is
a
production
of
blue
pictures,
which
is
a
subsidiary
of
fork.
Films
fork
films
as
a
if
the
production
company
behind
such
films
as
pray,
the
devil
back
to
hell,
which
was
about
the
Liberian
peace
activist
and
Nobel
Prize
winner
leymah
Bowie,
and
they
also
did
a
film
called
armor
of
light,
which
was
about
gun
violence
in
America,
and
they
have
done
many
many
many
films
about
women
and
peacebuilding.
M
So
there
are
really
excellent
partners
that
we
believe
for
this
production.
But
importantly,
in
terms
of
our
funding,
the
majority
of
our
funding
comes
from
itvs,
which
is
the
independent
television
service.
It
was
originally
founded
here
in
Minneapolis
and
it
funded
by
the
Corporation
for
Public
Broadcasting,
so
congressional
money
supports
cppm
and
itvs,
and
one
of
the
guideposts
for
producing
for
itvs
is
this
transparency.
M
Our
other
one
of
our
other
significant
funders
as
the
International
Documentary
Association,
and
specifically,
we
received
support
through
their
enterprise
journalism
production
fund,
which
acknowledges
projects
with
journalistic
integrity
in
both
those
cases
and
in
terms
of
I
TS
are
out
of
like
500
applications.
They
chose
five
films
and
the
same
goes
pretty
much
for
I
da.
So
these
are
really.
M
And
then
just
lastly,
we
have
funding
through
other
funders
such
as
the
Gucci
Tribeca
documentary
fund,
the
New
York
Foundation
on
the
arts.
We
just
received
a
grant
from
them
through
their
women
in
film
theater
and
television
grant,
which
is
meant
to
elevate
the
voices
of
women,
women,
artists
and
we
have
funding
pending
with
the
Ford
Foundation
and
the
Open
Society
Foundations.
M
M
They
see
it
as
an
opportunity
to
facilitate
conversations
between
well
amongst
the
community,
around
policing
and
community
relations.
How
can
we
mend
them?
How
can
we
heal
them,
and
we
hope
that,
should
we
launch,
for
example,
on
TPT,
could
we
take
that
conversation
nationally?
We
really
do
feel
like
there
is
an
opportunity
for
that.
M
Can
I
add
one
thing,
please
I'm
sorry
I
also
just
would
like
to
differentiate
ourselves
from
the
first
48,
where
we
don't
leave
we're
not
coming
in
for
48
hours
and
just
filming
and
walking
away.
It's
really
filmed
over
time.
We
are
being
held
by
our
funders
and
by
our
eventual
broadcasters
to
very
high
journalistic
standards,
and
the
goal
here
with
this
project
has
not
been
entertainment,
but
it
really
has
to
bend
to
create
a
film
that
catalyzes
discussion
and
perhaps
understanding
where
there
hasn't
been
enough.
F
Thank
you,
madam
chair,
and
thanks
for
this
presentation,
it's
great
to
meet
you
in
person.
Are
there?
Can
you
talk
about
a
little
bit
about
I
know?
As
these
concerns
were
raised,
we've
made
some
requests
of
you
for
information
that
you've
provided.
Can
you
talk
through
a
little
bit
of
kind
of
what
you've
done
in
terms
of
providing
us
with
a
list
of
when
you've
shot
things
and
yeah?
I
know
that
some
of
that
has
happened.
I
just
want
to
make
sure
that
everybody
hears
the
ways
that
we've
been
cooperating.
Yes,.
N
So
we
were
asked
to
provide
dates
for
all
the
times
that
we
were
out
on
patrol
with
particular
officers.
One
is
officer
Aaron
Garbowsky,
who
is
of
the
first
Precinct
and
the
other
was
sergeant
Alice
white
who's,
a
sergeant
in
the
fourth
Precinct,
and
we
handed
over
those
dates
and
then
the
PIO
office
was
able
to
look
through
all
of
their
body,
cam
footage
even
beyond,
because
we
wouldn't
be
with
them
necessarily
for
the
whole
shift.
So
as
I
believe
it
sergeant.
N
Horn
went
through
everything
that
could
have
possibly
happened
that
day
and
came
up
with
the
results
that
she
D
said
in
terms
of
who
was
captured
and
what
kind
of
a
case
they
may
have
had
or
not
had
and
where
there
are,
and
also
just
we.
The
goal
of
this
film
is
not
to
follow.
You
know
crime
or
to
follow
a
particular
case.
N
It's
really
to
understand
what
it
is
like
to
be
a
police
officer
in
the
context
of
a
very
of
a
lot
of
complexities
of
the
job,
as
well
as
to
understand
the
community
and
the
community
response
and
feelings
that
have
happened
as
since
we've
been
here,
and
we
did
start
just
to
answer
an
earlier
question
in
the
spring
of
2017
I
as
an
independent
filmmaker,
you
often
don't
I.
Don't
you
don't
even
know
if
you
have
a
film
when
you
start
so
it
it
takes
a
few
months
to
you
kind
of
reel.
N
We
were
getting
releases,
but
it
was
only
later
in
the
summer
that
I
joined
forces
with
pork
films.
We
created
the
subsidiary
blue
pictures,
and
it
was
only
at
that
point
that
the
issue
of
a
more
standard
contract
was
raised.
We
sent
that
first
initial
discussion
of
the
of
this
contract
began
in
November
of
2017.
F
N
F
L
N
We
have
it,
we
always
had
the
contracts
were
the
dates
we
had
come
into.
You
know
a
verbal
agreement,
we
were
shooting,
we
did
have
releases,
so
you
know,
I
am
a
part
of
blue
pictures
and
I
was
part
of
the
other
one.
So
I
as
the
entity
of
the
person
who
has
the
final
cut
on
this
film
had
been
the
the
the
through
line
through
the
process.
M
If
I
could
just
elaborate,
so
Deirdre's
production
company
is
mind's
eye
when
she
first
started
filming
all
the
releases
were
with
mind's
eye.
Blue
pictures
is
now
a
entity
formed
by
mouth,
both
mind's
eye
and
fork
films,
so
that
the
releases
that
were
signed
under
mind's
eye
were
are
now
under
the
umbrella
of
blue
pictures.
Jaya.
M
In
the
agreement
you
are,
the
NPD
is
granted
and
city
attorney.
Osborn
can
speak
better
to
this
perhaps
but
review
is
granted
to
the
NPD
of
a
cut
of
the
film.
We
were
I
believe
asked
vote
to
hand
over
footage
for
review,
which
does
put
us
in
violation
of
standard
journalistic
practices.
So
when
we
were
asked
to
provide
the
date
that
we
filmed,
we
very
willingly
provided
that,
but
it
can
get
into
somewhat
treacherous
territory.
M
M
M
F
If
I
can
just
clarify
I'm,
not
asking
for
review
of
the
film,
that's
that's
being
prepared
for
presentation,
that's
actually
not!
What's
at
that
stake
for
us,
I,
don't
want
to
intervene
in
your
judgement
about
I.
Think.
What's
what's
important,
the
question
that's
come
up
for
us.
That's
unique,
I.
Think
to
filming
in
police
environments
is
the
question
of
raw
footage
as
potential
evidence
in
criminal
cases
that
we're
not
asking
for
editorial
oversight.
We
don't
want
to
know
what
your
point
of
view
is
or
intervene
in
that
we're
just
asking.
F
Thank
you
and
I
think
the
concern
was
raised
that
that,
in
the
event
that
that
happened,
what
happened?
My
understanding
is
maybe
what
happened
with
first
48
is
that
they
then
claimed
journalistic
privilege
and
did
not
provide
that
footage
and
so
I
guess
I'm
asking
well
what
would
happen
if
we
asked
you
for
a
specific.
We.
A
J
That's
really
what's
at
stake
for
me.
I
would
really
love
to
be
able
to
see
that
that
we
can
not
from
administration
to
administration,
but
that
we
as
an
institution
could
be
committed
consistently
to
being
able
to
provide
a
level
of
transparency
and
there's
sort
of
two
levels
of
transparency.
Does
it
does
it?
J
What's
that
what's
what's
at
stake
here,
and
so
you
know
so,
I
didn't
want
folks
to
think
that
oh
I
have
an
issue
with
a
documentary
film
being
made
or
anything
like
that,
but
but
but
I'm
glad
that
you
guys
are
here
and
pursuing
the
stories
and
the
project
that
sure
pursuing.
You
know
still
my
concerns
with.
J
You
know
our
institutions
willingness
and
the
fact
that
we've
that
that
you
have
been
filming
and
again
that's
not
your
fault
like
you
know,
but
the
fact
that
you
have
been
filming
without
a
written
contract
is
something
that's
really
concerning
to
me
and
it's
a
reflection
of
not
you
all
again,
but
our
institution
and
I
failure
to
to
to
make
sure
that
we're
protecting
our
residents.
So
I
just
wanted
to
offer
that.
Thank.
N
N
So
it
feels
it
would
be
a
bad
ending
to
our
story,
but
we
will
put
this
film
out.
It
will
go
on
public
television,
so
it's
for
in
terms
of
our
film.
You
know
an
a
to
our
contract
will
not
stop
this
film.
It
will
just
end
our
story
and
what
happens
in
the
future?
You
know
is
something
and
I
hope,
though,
that
independent
journalists
can
still
come
and
and
tell
meaningful,
meaningful
reporting
here
in
the
future
as
well.
G
M
Well,
one
thing
that
you
I
can't
remember
who
said
it
earlier,
but
you
someone
made
the
recommendation
that
that
the
protocol
for
filming,
perhaps
with
the
MPD,
be
clear
and
just
as
a
member
of
the
media,
I
can
say:
I
think
that
is
a
really
terrific
suggestion.
I
think
when
filmmakers
know
the
context
and
the
protocol
that
they
need
to
abide
by.
M
You
know,
then
that's
really
important
information
for
them.
I
think
that
you
might
find
that
if
all
footage
had
to
be
handed
over
and
made
public
that
perhaps
some
filmmakers
wouldn't
be
inclined
to
come
here,
because
they
might
perceive
that
as
sort
of
some
violation
of
journalistic
protocol
or
privilege
can.
N
We
just
add
one
little
thing,
I
know
there's,
so
you
know
questions
about.
We
know
should
something
have
happened
differently
with
the
MTD,
but
I
really
want
to
employ
applaud
the
MPD,
I
I
think
it's
amazing
that
they
allowed
independent
documentary
filmmakers
to
come
and
I.
Think
that
that's
what
we
need.
J
More
questions,
one
is,
you
know,
I
think
about,
especially
with
you
know,
with
learning
that,
but
we
have
been
operating
without
a
contract.
You
know
I
wonder
you
know,
of
course,
MPD.
We
are
institution,
we
have
a
an
agreement
to
review
the
footage,
but
how
I'm
thinking
about
the
folks
who
might
be
being
charged
with
the
crime-
and
there
may
or
may
not
be
footage.
This
is
all
hypothetical
that
could
that
could
help
them
or
hurt
them
in
a
case.
J
How
would
a
defendant
know
like
that
that
you
have
that
you
possibly
have
relevant
footage
that
could
exist
and
so
like?
What
does
that
process?
Look
like?
How
does
you
know
what's
the
process
for
knowing
that
there's
there's
there's
evidence
somewhere
on
a
file
and
how
do
we
and
and
and
how
does
somebody
retrieve
that
to
protect
themselves
in
a
court?
That's
a
question
that
I
have,
and
maybe
our
attorney
would
want
to
answer
that.
Maybe
Jose
I
see
Joseph
Byrne
answer
that
or
but
I
do
have
a
question
about
process
a
little
bit.
H
You
know
part
of
the
process
improvement
that
I
think
the
MPD
is
his
is
buying
into
is
making
sure
that
proactively
going
forward.
You
know
we
keep
our
own
full
set
of
records
about
who
was
with
our
squads
and
officers,
and
when
that
happened-
and
you
know
proactively
just
have
our
ready
to
go
before
any
of
these
issues
even
come
up.
So
if,
in
the
context
of
a
specific
criminal
case,
that's
part
of
the
police
report
and
part
of
the
record
that
you
know,
footage
may
exist
about
this
incident
now.
H
J
So
my
last
question
would
be
you
know.
A
part
of
my
problem
with
this
whole
ordeal
is
that
we
have
been
functioning
without
a
contract
for
so
long.
You
know
how
do
we
put?
How
do
we?
How
do
we
build
in,
for
that
was
to
prevent
the
executive
team
from
making
that
kind
of
call
again
what
are
going
to
be
sort
of?
What's
the?
What's
the?
What
are
the
accountability
measures
for
a
department
that
says?
J
H
Ellis
and
I
believe
AC
Jos
did
cover
a
lot
of
those
issues
and
what
is
planned
to
avoid
that.
Those
situations
that
you're
speaking
of
in
this
particular
case
I,
believe,
even
though
there's
no
written
signed
contract
yet
I
believe
and
I.
Don't
want
to
speak
for
the
filmmakers,
but
I
believe
they
would
agree
that
they
would
abide
by
the
terms
of
our
proposed
contract,
regardless
of.
O
Thank
you,
madam
chair.
First
I
I
couldn't
agree
more
with
your
statements
and
then
you
for
this
work
and
some
yet
some
of
the
police
department,
employees
that
I
have
come
to
respect
the
most
have
felt
deliberately
left
out
of
this
project.
So
could
you
please
help
me
understand?
How
are
your
subjects
chosen
for
this
filming?
Well,.
N
When
I
first
came,
the
PIO
office
assembled
a
group
of
women
for
me
to
meet
and
talk
I
had
some
goals
around
some
following
women
at
different
ranks.
To
have
a
fuller
understanding
of
experience.
I
did,
however,
pursue
one
particular
person
which
was
Kathy
wait.
Inspector
of
the
fifth
Precinct
I
wanted
her
to
be
a
part
of
the
film
I
reached
out
to
her,
and
she
never
responded
to
me
she's,
the
only
one
that
I
came
to
after
the
fact,
but
the
other
women
I
met.
N
Oh
yeah,
the
other
women
I
met
earlier,
and
we
were
interested
in
women
in
leadership
because
not
only
are
there
less
than
13
percent
women
in
police
forces,
but
there's
even
less
when
you
get
into
leadership.
So
we
were
really
interested
in
that
chief
harteau
was
never
going
to
be
a
main
character.
Actually
she
was
always
sort
of
leaving
it
a
bit
of
above
a
department
and
how
were
women
faring.
So
we
always
the
women
that
we
followed
from
the
beginning.
N
O
To
Casa
member
Connors
office
for
helping,
through
this
time
of
extra
consideration
and
and
really
helping
us,
as
a
committee,
I,
think
appreciate
a
couple
of
important
points,
and
one
of
them
is
the.
We
have
to
make
a
choice
about
the
past
today
and
that's
that's
not
right
and
to
me
that
speaks
volumes
about
the
habits
and
maybe
motivation
of
previous
police
leadership.
But
that's
not
for
this
decision
today.
O
The
other
important
part,
I,
think
was
brought
up
by
councilmember.
Ellison
too,
was
that,
despite
my
love
of
this
specific
project
or
my
love
of
documentaries
in
general,
how
can
we
protect
residents
and
be
consistent
is
our
is
our
concern,
and
maybe
we
need
to
be
consistent
on
ones
that
we
may
not
agree
with
in
the
future
and
I
hope
there,
weren't
ones
that
we
find
out
about
later
that
were
about
the
past.
G
A
Sort
of
scrambling
to
kind
of
catch
up
with
everything
that
have
been
happening
at
the
departmental
level,
so
just
wondering
if
you
know
if
you've
dealt
with
other
governments
before
and
if
that's
been
kind
of
the
process
that
you've
seen
and
and
kind
of.
Why
are
we
seeing
the
contract
come
in
now
versus
at
the
beginning?
And
then
you
know
I'm
imagining.
You
have
a
really
significant
legal
explanation
about
why
the
council
has
to
approve
this
and
not
the
departmental
level
work,
but
would
appreciate
hearing
on
on
that
front.
A
N
Just
from
what
I
know
my
process
was,
I
came
in
the
spring
of
2017.
I
I
was
in
communication
with
chief
harteau
assistant,
chief
Arneson
and
the
PIO
office
at
that
time,
and
as
I
said
before,
you
never
really
know.
When
you
start
a
film,
is
it
all
going
to
jail?
Are
you're
gonna
find
the
right
people?
Does
it
feel
like
a
story
that
is
worth
national
attention?
N
I
think
it
was
only
a
few
months
later
that
I
I
was
really
kind
of
saying
like
yes,
this
is
my
next
project
I'm
going
to
do
it
and
that's
when
I
joined
forces
and
with
some
funding
that
is
necessary
to
make
a
project
happen.
At
that
point,
the
decision
which
within
our
group
was
that
we
should
have
a
more
formalized
agreement
that
that
would
be
a
good
idea
so
that
everybody
was
on
the
same
page,
and
so
that
was
about
November
of
2017.
N
No,
there
was
no
email
that
let
me
know
that
so
then
it
was,
it
took
a
little
bit
till
it
went,
we
realized
I,
don't
know
the
new
person
is
sergeant
horn
and
then
you
know
till
that.
So
there
was
a
process,
but
just
so
you
know
we
were
starting
in
November
2017,
reaching
out
to
the
PIO
office
saying
we
would
like
to
have
this
that
point.
N
M
You
and
if
I,
can
you
had
a
question
about
precedent
and
if
I
can
just
speak
to
that,
I
mean
I.
Don't
think
either
of
us
have
done
films
about
a
police
department
per
se
before,
but
it
often
takes
different
forms.
Sometimes,
for
example,
I've
done
it.
I
did
a
film
in
a
hospital
and
no
filming
could
take
place
until
the
access
agreement
was
signed
and-
and
that
was
a
much
smaller
and
not
as
longitudinal
of
project,
and
sometimes
these
legal
processes.
Of
course
they
do,
they
can
become
more
protracted
and
they
can
take
time.
M
And
of
course,
when
you
have
changes
in
administrations
and
all
that,
then
it's
not
necessarily
surprising
I
will
say
that
Deirdre
has
really
been
the
main
point
of
contact
with
the
MPD
and
that
she
really
did
continue
to
try
to
just
sort
of
see
what
was
happening
with
it
and
and
and
and
to
try
to
you
know
just
check
in
about
it.
So
it
wasn't
like
we.
M
We
didn't
necessarily
just
send
it
in
November
and
then
and
sit
back
and
that
that
Deirdre
was
also
incredibly
diligent
about
always
getting
at
least
an
email
approval
about
shooting.
So
I
was
you
were
always.
You
know
that
she
would
never
just
sort
of
show
up,
and
there
was
always
that
kind
of
a
paper
trail
or
email
trail.
M
D
H
No
members
of
the
committee,
the
reason
that
this
particular
agreement
is
before
your
committee
for
approval
is
because,
if
it,
if
any
agreement
that
deviates
in
any
way
from
the
city's
standard
agreement
council
approved
procurement
standard
agreement,
then
the
the
governing
body
does
need
to
approve
that.
Thank.
A
You
I
appreciate
it
and
and
I
do
appreciate
that
you
took
your
the
time
to
come
all
the
way
to
Minneapolis
to
speak
to
us
on
this
issue
in
person,
in
addition
to
the
phone
call
that
you
have
done
with
that
comes
from
our
Fletcher
and
I
and
staff
to
review
this
information
before
we
brought
it
to
the
committee,
because
it
was
slated
to
come
to
the
committee.
We
put
it
on
hold
to
have
proper
conversation,
as
some
of
our
jurisdictional
partners
had
reached
out
to
us
with
concerns.
A
M
F
You,
madam
chair
I'm,
certainly
gonna
vote
to
approve
this
and
I
and
I
think
the
reason
for
that
is
really
that,
because
of
the
way
this
went
through,
I
I
want
to
agree
with
you
that
that
we
should
commend
MPD
for
having
the
instinct
to
open
their
doors.
I
think
that's
the
right
thing.
We
want
transparency
and
we
want
people
to
have
some
visibility
and
how
the
department
operates.
F
A
three-year
project
but
I
think
it's
worth
everybody
remembering
and
I
think
it's
worth
the
the
full
council,
remembering
when
this
gets
to
the
full
council
that,
because
of
the
way
this
happened,
the
thing
that
MPD
should
not
be
commended
for
is
letting
this
thing
come
through.
Without
getting
an
agreement
in
place.
We
actually
don't
have
any
rights
right
now
and
we're
really.
F
This
is
much
more
beneficial
for
the
city
to
authorize
this
than
it
is
for
the
filmmakers
and
I
think
the
filmmakers
are
in
actually
pretty
good
legal
standing
from
any
of
my
experience
in
documentary
film
with
the
agreements
that
have
happened.
I
know
they've
met
the
standards
that
I
was
trained
to
meet
in
terms
of
covering
themselves.
F
So
I
think
at
this
point,
I
think
the
the
city
benefits
a
lot
more
from
this
agreement
than
the
filmmakers
do
so
I
appreciate
you
coming
and
talking
to
us
about
this,
but
this
may
not
be
the
perfect
framework,
but
it
does
create
some
framework
and
some
access,
and
we
really
appreciate
your
cooperation
on
some
things
that
you
weren't
obligated
to
cooperate
on,
but
that
I
appreciate
your
responsiveness.
So
this
this
makes
a
lot
of
sense
and
then
obviously
I
appreciate
the
policy
moving
forward
so
that
we
don't
find
ourselves
in
the
situation
again.
G
C
G
Coaching
upon
International,
Women's
Day
is
coming
Friday
and
so
lifting
up
the
leadership,
the
paltry
number
of
women
in
our
Police
Department
and
and
that's
a
reality
in
the
police
departments
all
around
the
country
I
think
highlighting
this
issue
and
bringing
attention
to
women
officers
and
abilities
to
de-escalate
potentially
very
volatile
situations
is
an
important
conversation
to
have
and
initiate,
and
so
I
want
to
commend
you
for
initiating
this.
This
conversation-
and
it
has
been
a
very
sort
of
messy
process.
G
J
Also
just
want
to
express
you
know
my
gratitude
that
you
all
are
doing
this
work.
I,
don't
think
I'm
going
to
be
supporting
this
contract
and
and
it's
not
because
I
don't
want
you
all
to
finish.
Your
film
I
think
you
should
finish.
Your
film
you've
already
indicated
that
you're
going
to
and
I'm
glad
you're
going
to
as
a
teenager,
I
used
to
be
a
graffiti
writer.
So
I
have
no
obsession
with
the
rules
right.
J
You
know
an
amalgam
of
mistakes
and
that
future
council
will
just
sort
of
rectify
it.
You
know
I
mean
we're
just
gonna
keep
going
and
and
and
and
we're
not
going
to
be
concerned
with
with
what's
happening,
and
then
the
Future
Council
will
be
able
to
deal
with
that
and
and
I
think
that
the
juxtaposition
between
first
48
and
you
all
is
a
perfect
example.
It
won't
always
be.
You
know
you
filmmakers,
like
yourselves,
that
we're
sitting
here
having
this
conversation
with
and
it
does
you
know,
feel
like
you
know.
J
This
might
I,
don't
know
if
you
all
spend
your
free
time
watching
these
committees,
but
I
would
hope
to
do.
But
there
you
know,
but
it
does
feel
like
in
this
first
year
in
plus
a
couple
months
in
office
that
we've
been
dealing
with
a
whole
host
of
situations
where,
where
the
and
not
to
pick
on
NPD
I,
think
I
think
that
you
know,
as
a
city
we're
trying
to
figure
out
how
to
govern
as
a
whole.
J
But
we
have
been
in
a
situation
where
MPD
is
come
to
us
with
issues
around
around
ketamine
around
the
marijuana
sting
around
the
you
know
it's
just
like
a
constant
wave
of
of
just
surprises
of
the
you
know:
failed
procedures,
lack
of
transparency
and
and
and
and
while
you
are
with
you
all
the
two
of
you
and
and
what
and
what
you're
looking
to
produce
is
probably
the
best
thing.
That's
going
to
come
out
of
the
situation.
J
J
It
sounds
like
you
mostly
have
the
support
of
this
body
with
this
contract
and
while
I
acknowledge
that
councillor
Fletcher
is
correct.
The
city
does
get
more
of
this
contract
that
you
all
do.
I
think
that
the
the
two
other
incident,
the
two
other
issues
that
I'm
that
I'm
discussing,
are
why
I'm
gonna
be
voting
now
so
just
want
to
let
my
colleagues
know
that.
Thank
you.
A
Already
well,
I,
don't
see
any
more
questions
here
up
on
the
dice,
and
so
the
item
before
us
is
to
authorize
the
Minneapolis
Police
Department
into
entering
the
contract
into
a
location,
access
agreement
with
blue
pictures
LLC
to
film
a
documentary
motion
picture
following
the
working
lives
of
a
select
group
of
women
in
law
enforcement.
So
all
those
in
favor,
please
say
aye
aye,
all
those
maintaining
or
voting.
No,
no.
H
A
O
So
much
thank
you,
madam
chair.
This
isn't
on
our
agenda
today,
but
it
does
feel
right
to
bring
this
forward
in
this
moment,
both
in
the
spirit
of
what
this
effort
was
about
with
our
filmmakers
in
the
audience,
both
in
some
of
the
comments
we
received
in
the
comment
period
earlier
today.
I
think
everybody
has
this
staff
direction
before
you.
O
We
have
to
train
before
trauma
and
trauma,
as
we
all
know,
and
all
the
different
facets
of
our
lives
has
a
deep
impact
on
how
we
show
up
so
from
the
aspect
that
we
know.
We
can
be
more
proactive
about
this
from
the
aspect
that
our
first
responders
navigate
a
life
of
stress
and
trauma
and
I
personally
believe
that
our
country
is
in
reckless
disregard
for
how
we
run
high
liability
organizations
like
public
safety
first
responders
when
our
Police
Department
shows
up
differently
to
situations.
O
O
Wellness
and
mindfulness
is
scientific
performance
training.
It
can
be.
Our
chief
makes
a
lot
of
assertions
about
an
expectation
of
wellness
in
his
vision
statement,
and
we
have
money
specifically
allocated
to
this
and
I
feel
that
we
need
an
update.
So
this
staff
direction
puts
forward
a
statement
from
the
council.
That
says
we
want
to
see
a
vision
of
where
we
plan
to
go
with
this,
and
we
need
a
way
to
measure
our
investment
and
commitment
to
it
along
the
way.
O
A
O
If
I'm
a
manager
council
vice
president
Jenkins,
we
have
looked
at
how
we
would
measure
this
we've
been
in
conversation
with
other
police
departments
across
the
country
as
to
how
they
measure
their
investment.
In
this
kind
of
work.
For
example,
the
Bend
Oregon
Police
Department
has
been
able
to
measure
and
justify
their
time
and
money
spent
on
different
kinds
of
wellness
initiatives
based
on
reduced
sick
time,
reduced
workplace
injuries
and
other
kinds
of
measures.