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nothing to SEE here: WATTS
The outline of Watts on a map of south Los Angeles, filled with dots — the film's violent crime detail for the neighborhood.
Watts, California

How it happened.

After a late-night police ride-along in Watts, an outsider witnesses a version of the neighborhood that never makes the news — and asks a simple question.

2.1
sq. mi.
60+
gangs
100
homicides while filming
01The ride-along

One night, an outsider rode along with police through Watts. He saw three people get shot. One died. None of it made the news.

He asked a gang member what made him join. “My mother put me in,” he said. The gang offered day care and protection while she worked. He watched classes where children were taught not to call 911: the recordings can be released, the gangs call you a snitch, and the retaliation is often fatal.

He was well read, well resourced, and certain he understood places like this. He was wrong.

02The question

What if the people living the story told it themselves?

03Twenty said yes

Hoping to learn what else he didn’t know, he asked more than 200 people to film their own lives. Twenty said yes — rival gang members, police officers, victims of violence, children growing up in the middle of it. Every filmmaker owns their footage, and decides whether it is included.

The Watts filmmakers together against a brick wall, fifteen of them, outdoors in the sun.
The filmmakers — twenty residents, twenty iPhones
04A year of filming

Over the next year, they filmed more than 200 hours of their lives — raw and unfiltered. No director. No script. No outsider shaping the story.

05The one rule

A radical idea emerged: he would build the infrastructure; they would be the directors, the editors; they would have final say. One rule — everyone had to agree on the final cut.

“Don’t put no sugar on it. This is Watts, this is what happened to us.”
Neci McKinney — Victim of Violence
06The editing room

No script, no central storyteller, no outside voice. Gang members, police officers, and victims sit across the same table — forced to watch each other’s lives, and to decide, together, how their community will be seen.

The filmmakers seated around a square of tables, the film’s title on the screen behind them.
The editing room — gang members, police officers and victims at one table
“There was no forgiveness going on, but there was acknowledgment of the other. Empathy without forgiveness.”
LaWanda Hawkins — Community Activist, Son Victim of Gang Murder
07The final cut

A year later — after endless debate, arguments, people walking out and walking back in — rival gang members, police officers, victims of violence and youth agreed on a final cut. And what happened next, nobody could have imagined.

The filmmakers in discussion, seated in a circle of chairs in a darkened theatre.
The screenings — the room where it changed
08The gang screening

A screening for Watts’ most active gangs — more than 200 years in prison between them. Four gangs, one warehouse, no security. One conclusion: everyone was losing.

“You could cut the empathy in the room with a knife.”
Tim Pearce — Former LAPD Gang Officer
09The peace agreement

The gangs requested more screenings, for their most active members. In time, a peace agreement emerged.

“We broke every rule — street rules, LAPD rules, community rules. We did it to save Watts.”
Cornelius Wills — Gang Member, Bounty Hunter Bloods
10The outcome

The Outcome — in the 12 months that followed:

0
gang-related homicides
90%
reduction in homicides overall
>50%
reduction in all forms of violent crime
The filmmaking team of Nothing to See Here: Watts standing together in a row across a theatre floor, under the stage lights