Man On Fire
Man on Fire Dir. Joel Fendelman, Produced by James Chase Sanchez & Sullivan Rauzi
Behind the Lens of Man on Fire
June 23, 2014: A 79-year-old white Methodist minister named Charles Moore drove to an empty parking lot in his old hometown of Grand Saline, Texas, and set himself on fire. He left a note on his car’s windshield explaining that this act was his final protest against the virulent racism of the community and his country at large. Man on Fire goes back to Grand Saline – population 3,266 – to try to uncover the truth about the town’s ugly past and the fervor for God and justice that drove Moore to his shocking final act.
“...Its highest quality is its unabashed truthfulness.”
Visualizing the Story of Charles Moore
To create a documentary that authentically captured Reverend Moore’s life and motivations, director Joel Fendelman focused on spotlighting the voices of Grand Saline’s residents. The heart of the film lies in their perspectives and the complex, often contradictory views surrounding Moore’s final act, and the history of racism in Grand Saline. Locals Video producer Sullivan Rauzi partnered with Joel early in pre-production to execute the reenactment of Moore’s final days. Working closely with the Austin Film Commission, Big Dog Pyro Special Effects, and an array of Austin crew, Sullivan managed the Austin production unit over the multi-day shoot.
Capturing Small Town Texas
In addition to interviews, the production included carefully planned B-roll and pickup shoots to help visualize the setting and capture the feel of the town. Filming the quiet streets, familiar landmarks, and local gathering spots, these scenes became instrumental in grounding the viewer in Grand Saline’s atmosphere. This visual layer added depth to the story, offering a sense of the town’s environment and the nuances of daily life there, while subtly reflecting the tensions and histories that shaped Moore’s journey.
Bringing the Project Together
The production process was collaborative from start to finish. Working alongside director Joel Fendelman, the goal was to ensure that every element of the film, from the candid conversations to the atmospheric B-roll, reinforced the documentary’s themes. Balancing the logistical and creative demands required a disciplined, adaptive approach—whether coordinating multi-location shoot days, setting up for on-the-fly interviews, or adjusting schedules to accommodate participants’ needs.
Man on Fire became not just a documentary but a platform for opening difficult conversations about racism, justice, and the power of individual acts. Through careful planning, trust-building with participants, and a commitment to capturing the story’s emotional and visual depth, the film came together as a moving portrait of a man’s life and legacy.
