it's your choice, jennifer. most doc makers don't give their
subjects a profit share. some give up to 50%. it all depends on your
relationship to the subjects, what they want, what you want to give,
just make it clear to them that the chances of making any profit is
Thanks Doug. Also, I called Fernanda Rossi, because I don't like my
demo reel and she was extremely helpful and knowledgable. I saw that
you mentioned her in this "Mentoring Room", and I trust your
referrals. She made some terrific suggestions and she's also
extremely nice. You are very hooked in to the documentary film scene
and are a wealth of knowledge. As I've mentioned,I'm making my first
film and I find your suggestions and this whole doc film site an
invaluable resource. (For other people reading this I am not related
to Doug, and I'm not earning any extra income from him for my
feedback, which he didn't ask for.)
First time filmmaker here, I want to begin shooting a documentary
about a club and the exotic dancers who work in the club, is there
any legal protocal I should follow in terms of releases, life story
rights, and location releases? Can anyone also recommend a book or
online website that would have similar legal contracts and releases?
Any info from you pro's would be greatly appreciated. Thanks in
Hi, Jennifer. I highly recommend you check out entertainment lawyer
Mark Litwak's website: http://marklitwak.com. Get releases from
everyone you can, including patrons whose faces are recognizable (good
luck!). Get a release from the club, absolutely. As for life rights,
it seems premature. I'd deal with that a little later down the line -
might spook your subject(s) unnecessarily.
Darn . . . there is another Jennifer Fleming filmmaker out there? No
Doug, I am not her. I am a first-time doc filmmaker - I wish I can
claim her experience instead of her name.
Thanks again for your help. I am certain that my questions will be
posting frequently over the next several weeks as I embark on this
storytelling journey. :)
I came across this forum whilst looking for information
on successfully producing/directing my first doco. I may have the
opportunity to film a doco and I'm really not sure where to start.
Can anyone please tell me where do I start first. I have the subject
and I have written down a few notes but that's all I've done.
Any help would be appreciated.
It's actually for the 20th anniversary for an AIDS organisation. They
are planning to have a year long awareness campaign in all areas of
of media, so I thought why not a documentary! It will give me a
chance to get my feet wet, and have a credit etc.
Thanks Doug, that's what I'm hoping also. I do have a very good eye
and I am a published writer as well as a classically trained pianist.
It would appear that anything I do in the arts I do it to perfection,
so I believe the trend will continue whilst filming this documentary.
The organisation I'm involved in, has access to the right people in
the media, so I thought why not take advantage. I will have access to
equiptment as well as a facility. I will certainly post regularly now
that I hvae found this site.
This is my first posting to the board though I've been reading it for a few
weeks now. First, Doug, your advice here is very helpful, especially for us
newbies (or semi-newbie in this case). Thanks.
My question is: I just finished a 15-minute sample tape/trailer for a
documentary I've been working on. It's about a failed Hollywood film
production that wound up in the hands of the CIA. There's a great story
behind it and I think this has good commercial potential. I'd like to target
more commercial funding sources than grant organizations. But I'm a little
stuck as to how to do this. How do you market a sample tape
around for broadcast/theatrical (i.e., commercial vs. grant) production money?
Where do I go? And would a producer's rep help in this early stage?
Thanks Doug--yes, I'd heard about this and even joined IFP just last week.
But do they take sample tapes/trailers rather than works-in-progress? Also,
do you get a guaranteed audience with market people? Or is it luck of the
Yes, they screen samples in their works-in-progress section, which is
where they put their emphasis.
As far as guaranteed audiences, there are never guarantees. You'll
have to work your little fanny off to get their fannies in the seats.
If you do a google search, or look closely at the IFP's website, I'm
sure there are numerous articles that have been written over the years
about how to "work" the market.
Is there any word out there about how people are finding Final Cut
Express. I am planning to shoot only on an XL1s and am about to
purchase software. The savings on Express would really help but am I
going to regret it later?