name D-Block, Doug.
My name is Michael Lieberman. I posted here a year or two ago when I
was in production of my documentary film "The Drift." At the time, I
posted fundraising and budget concerns/thoughts, which were quite
I thoroughly enjoyed the Fair Use discussion, issues of which I am
currently dealing with and worried about. In "The Drift", many times I
interviewed the subject, an Iraq War veteran, as he was in transit (in
a car) or near his computer playing music. I never wanted to use the
music, but the interviews literally hold the film together. The Center
for Social Media PDF file was very helpful, but then I read
contradictory reports about other films where directors had to secure
rights for cell phone ring tones in the background. Where does the
truth lie about this? The total budget for this film was about as much
as it costs for a teenager's used car. What to do?
Another separate thought: In one scene, the Iraq vet made a video for
a class of his, using music from "The Simpsons" soundtrack and a
speech from Oppenheimer. Would using this, where the intent by the
subject of my film used it to further his ideas, count as me capturing
copyrighted media contact in the process of filming something else,
i.e. the reactions to his project?
I must add that this community is invaluable. Without it, I'd really
have nowhere to go for concerns I've had as a documentary filmmaker.
First of all I got a question. Any one familiar and or have worked
with Current TV?
We are an upcomming documentary production company/collective called
Transnational Productions based in Europe (at the moment London, and
South Germany). Our main goal is to make films concerning diaspora
and culture, eventhough we are developing new ideas as we go along on
a daily basis.
We also will like to approach filmmakers interested in contacting us
for possible working together etc... as we are open to
suggestions/share cooperation and already have a few contacts world
wide, which by the way it is the main reason why we appreciate this
For example, one of our friends currently went to Thailand and Burma
to shoot a documentary and we provide her with contact information to
rent some equipment she needed for her to shoot there. We also need
some support in logistics as we can offer filmmakers our logistic
We are developing different kinds of contacts from production to
commissioning editors. We will like to develop a contact list as we
go along so we can exchange our experience/expertise equally.
We are also in the process of contacting European networks
Commissioning Editors, a difficult task but non the less exciting and
For more information and or comments, please feel free to contact us.
P.S. By the way, I hope this is the right place to write this email.
welcome to join our professional community: www.d-
word.com/community/join. Michael, you seem far enough along with your
experience to be eligible, too. You're far more likely to get answers
to your questions there.
Hey guys, kinda new here. Lol I'll just post the email question to save the flavor of the question:
I'm a high school student in the Philippines making a documentary on
the value of teenage love and the value of chastity. I would like to
ask for some basic advice on making a documentary. I'd be glad to
credit you for the advice in the end. =)
There's five people to interview, and I have couple of 1 CCD cameras.
The documentary can't exceed 12 minutes. Do you think it's a good idea
to make the documentary an entire interview? What about reenactments?
Do you have other ideas on how to make the documentary more
Thanks for your time reading this,
P.S. Sorry for the informality of the letter, I happen to be very candid!
The answer to your question is, as always, "it depends". If you have five people who give wonderfully poignant interviews with strong sound bites, they yes, you can probably go ahead and make the entire project nothing more than talking heads (e.g. Errol Morris' FOG OF WAR). However, if you have a character actually going through the struggle of remaining chaste, it might be more compelling to film him/her in the moment. I generally frown upon reenactments b/c they are so rarely done well (especially by first-time filmmakers) and they usually look terribly fake. Animation is something that's becoming a lot more prevalent and an interesting way of presenting an event that's already happened. Try looking at a bunch of different documentaries -- then pick and choose from certain styles you like that would best fit your film. Ultimately, the film has to be a reflection of what is most significant and striking to you.
I think a documentary needs more than talking heads. Errol Morris is also the king of re-enactments and even his talking heads are filmed with a very distinctive style (interrotron).
Teenagers talking about chastity? I want to see more than their heads. I want to see what they're talking about, if at least in an abstract way. Maybe, create their points of view in school or on the streets, looking at people, thinking about them. Maybe don't even show the interviewees. There's a reason it's a film and not a radio show, so let's see some compelling visuals..
Vincent, if you can get your hands on an American documentary called THE EDUCATION OF SHELBY KNOX, it demonstrates one approach to a similar topic (it's actually broader than just the chastity issue, but that is one issue covered in the film).
I also like Christopher's suggestion of possibly using animation.