David - bearing Niam's words, meet me in WIP
In reply to Doug Block's post on Thu 11 Oct 2007 :
So, it's taken me a while (shooting, good old grant apps), but here I am. I like the 10 Rules of personal documentary filmmaking, especially the how-much-to-put-yourself-on-camera debate. Gahd. I'm already in mine more than I had hoped and looking kind of bleary-eyed at that.
Say, Doug, did you or anyone else who has made a personal doc ever feel like the story is really about what goes on when the cameras are off (i.e. how difficult it is to make a doc about your family?)
I'm having a bit of trouble seeing the larger picture with this one. Think I need the help of a good editor!
Hi Leah. Saw your post here and couldn't help but want to respond. I think that "losing site of the big picture" is just a normal part of the process with doc making -- particularly, if you are going it alone and with minimal collaborative feedback. My advice would be to simply put the project away for a period of time (the longer the better). Take an extended break from it. You will be amazed at just how much more of a refreshed perspective you will have (with respect to your story) once you return to working on it. Good luck!
Good to meet you and thanks for the advice. The trick is, the doc is about my father learning to fly airplanes again after 40 years. He hasn't had his license all this time, there is a long stoy behind why. The idea was that I would follow him until he got his license again and dip back into some of the issues behind why he was barred from flying - encounter with mental illnes, loss of two loved ones in plane crashes. Good idea in theory.
It turns out that he contacted transport Canada and they just reinstated his license. They send it to him in the mail, just like that. Gahd. This despite the fact he told me it would be a long process to get it again. Then I find out today that he's been booking classes behind my back! Sneaky devil. I think he's tired of having film crews around poking into his life. Fair enough.
So the thing is, I do feel a certain pressure to follow the story.
What's keeping you busy right now?
Leah, for sure there's a story about my family's reaction to being filmed, but I don't think it's nearly as interesting or significant as the story at hand. That's why I saved it for the dvd. But nobody wants to hear the filmmaker whining about how hard it all is (other than fellow filmmakers). Because it's a whole lot harder for your family members dealing with a lens in their face.
Oh, my mistake, Leah. Something about your post caused me to think you were in post-production.
In regards to your circumstance:
I think so much about [verite/direct cinema] doc making is just placing yourself in situations and circumstances where your gut tells you a compelling story might take shape. It certainly seems to me that your idea for this doc was a good one. Obviously, it is difficult (if not impossible) if your subject is reluctant.
As for me, I am patiently chipping away, one tiny little baby step at a time, towards completion of my humble little doc, Blue Devils. Thanks for asking! :)
Okay, this is a big one.
I've got enough material together to start cutting together a 6-12 minute promo of a 55-minute piece, and I want to start shopping it around to get development grants for post-production. (I have found that it takes more than final cut pro and hope to master the nuances of video editing, and that I should probably get some help...)
However, even though I'm not a member of the Writer's Guild, AND I only work with unscripted non-fiction, if I'd be crossing the picket line by pitching.
Now, I don't intend to sell the movie until the Writer's strike is resolved, but I don't know if it's okay to move forward with it.
One more thing - I'm thinking about applying to ITVS for finishing funds, but this is my first documentary. Where can I find a documentary co-producer that I can apply with in my area?
I will be starting the dig for archival materials for my historical documentary. I'm noting which archives the historical docs that I love use, but does anyone have any other advice on where to start and how to avoid archives that require a Ken Burns budget? My film looks at four events in modern history - The Lisbon Earthquake of 1755, Auschwitz, Hiroshima and Nagasaki and September 11th.
Thanks Katya for your advice on advisors!
One more - There are about three songs that I really want for my film. I've seen many documentaries with popular songs and I know that we don't usually have the budgets of hollywood. Are there any tricks to gaining the rights to use these songs without breaking the budget?
Brian - what's your film actually about? Also, what stage are you in now - it sounds as if you have shot already.
Monica - archive and music rights can be very, very expensive - that's exactly why Ken Burns has those $$$$ budgets.
Monica - Re archive footage, you'll pay an awful lot if you go the traditional route of archive libraries/banks. Your best bet is to either find private collectors who own the rights to the footage and would be happy to let you use them for free or a small discreet donation. Other than that, you can also try to approach small local museums/trusts/organisations/TV stations that would not be as greedy as big commercial cos.
Music - check this D.I.Y guide: http://www.clearance.com/get_yourself.htm
Alternatively, you could get someone (friend/student in need of portfolio) to create something for you that sounds "similar" for your film, and sign the rights off to you.
In any way, budget constraints always send you on long and tortuous roads.
Brian, since you are in Austin, recommend you join the Austin Film Society if you are not already a member. There have a healthy doc membership and it would be a great way to network and potentially find a more experienced producer who's interested in your project. As far as the Writer's Strike, not sure I see how you would be crossing the picket line to pitch. Unless you already have a lead, there's relatively little development money from networks or cable entities for first-time filmmakers. You'd probably be better to go the grant route. Like John, we'd want to know more about your film to advise further.
Monica, D-Worder Robert Richter's last film was about the A-bomb in Japan. If he doesn't answer here first, suggest you look him up in the People link above and e-mail him about his experiences finding archival from Nagasaki and Hiroshima. For Auschwitz, recommend trying the National Archives and the U.S. Holocaust Museum.
In reply to Danielle Fautrat's post on Wed 14 Nov 2007 :
Thank you very much Danielle for your great advice - this is just what I needed.
In reply to Erica Ginsberg's post on Wed 14 Nov 2007 :
Thanks for the great tip Erica - I will be sure to look him up.
John and Erica - The documentary is called "Makers."
If you'll recall, I'm doing the feature-length documentary interviewing Prime Ministers and such in New Zealand. I know I'm in over my head so I thought I'd get some experience by filming events at an event in Austin - the Maker Faire, and turn it into a 28 minute piece. I mean, I thought, it's a bunch of cool looking stuff that is strange and the people who build it, right?
But there's also an additional issue that came up - the entire thing looked like it was a countercultural movement - like Burning Man. And I wanted to examine that more, so after I got all my footage (shot in a weekend - the event was only two days long) I started working with the idea that trends in our current society are forcing what was once considered "American Ingenuity" into a counter-culture.
I got the participation of Mark Frauenfelder (editor of Make Magazine - I interview him this Friday), Bruce Schneier (Security consultant), and Adam Savage (Mythbuster) to talk about the DIY Counterculture.
(Savage takes the point of view that eventually the DIY counterculture will, like rock and roll enthusiasts, become the culture, while Schneier takes the point of view that since 9/11, underqualified security personel are treating "different as a stand-in for dangerous because no one knows what dangerous actually looks like."
They're all willing to let me film them, but without development funds I can't afford to fly out to them, so the rough cut I want to shop around to grant-making solutions will simply have their voices recorded on the phone. Additionally, I've got some pretty unique stuff - for example, the Star Wheel, a pedal-powered moving ferris wheel. Sure, other cameramen were there filming it, but I don't think they got the moment that the thing ran into a powerline. (No one was hurt.)
I've put up a couple of promotional preview clips - one of them has already gotten 5000 views due mainly to a link from Fark.com. You can view them all here in 720p H.264 streaming.
Oh, and as for progress - the event's over so I can't go back and film more footage. I think I have enough for 57 minutes, but I can always scale back to 28 if I don't. (Truth be told, I think this would probably fit best in 45...)
Intro - 2 min. ROUGH CUT COMPLETE
"The Counterculture Becomes the Culture" - 8 minutes (Adam Savage talks about curiosity and the DIY culture, robot builders show off computer technology) ROUGH CUT COMPLETE
"A Bigger, Better Mousetrap" - 4 minutes (Footage of a Life Sized Mousetrap Game) ROUGH CUT COMPLETE
"Who but a Subversive would Make something?" - 8 minutes (Bruce Schneier talks about fear, security, and the danger of being different - some of the more dangerous exhibits are shown)ROUGH CUT COMPLETE
"The Ferris Wheel that Got Away" - 4 minutes The Star Wheel is a fun-looking contraption that accidentally runs into a powerline when the cameras are rolling. ROUGH CUT COMPLETE
"Ain't Those Freaks Just Grand?" - 8 minutes - Talking about the relationship between performance art and invention. ROUGH CUT COMPLETE
"These are our people" - 4 minutes - EepyBird talks about the science of the "Diet Coke and Mentos Experiments," followed by a live recreation. ROUGH CUT COMPLETE
"[Quote to be determined]" - 8 minutes - Mark Frauenfelder on running Make Magazine and devoting his life to the subculture. NEEDS MORE FILMING
"[Quote to be determined]" - 4 minutes on hybrid car conversion. FILMING COMPLETE
"Everything is Miscellaneous" - 7 minutes - an unapologetic break from the narrative to look at all the strange things that didn't really fit in with the narrative but which are interesting enough in their own right to be included. (for example, case modders, craft makers, model rockets, musical tesla coils, self-replicating robots...) FILMING COMPLETE
Conclusion - 2 minutes recapping the lessons learned and what I took away from it. FILMING COMPLETE
Monica - check out D-Worder Denise Ohio's advice on music clearance
Brian - it's very unclear (to me at least) what the above description has to do with "interviewing Prime Ministers and such in New Zealand".
Do you have a 100 word description of your project? A sentence?
Oh, no, it doesn't have anything to do with that. That's a separate project.
"Following Alexis West" is the "real deal." It's the movie I really want to make and it's the movie I'm spending my life savings on.
"Makers" is the project I'm cutting my teeth and making my mistakes on - a project that I took on mainly to familiarize myself with the equipment I'd be using on FAW, and figure out what I need to do. It was chosen as a subject because it was only 3 days of filming at most.
As for the 100 word summary:
Makers is a 2007 short-subject documentary directed by Brian Boyko about the "do-it-yourself counterculture." With interviews from Mark Frauenfelder (editor of "Make:" magazine,) Bruce Schneier (Security consultant,) and Adam Savage (Co-Host of "Mythbusters,") Boyko asks what the emergence of this counterculture of "making" says about our mainstream culture of "consuming." Are the â€œmakersâ€ on the bleeding edge of the future? Or are they being pushed to the fringes of society because of post-9/11 fear of the unusual? The interviews range from people who build musical Tesla coils, two-story-tall robots, pedal-powered amusement park rides, a giant game of Mousetrap, and more.
Aha. Do you have a short description of either project?
In the spirit of Alexis de Tocqueville, the Frenchman who examined American democracy in the 19th century, American director Brian Boyko travels to New Zealand to examine its democratic system. â€œFollowing Alexis Westâ€ examines the unprecedented peaceful change of New Zealand's American-style two-party system to a European-style proportional representation system in 1993 - and the effects of that change 15 years later. Through interviews with former Prime Ministers and current party leaders, it will show how New Zealandâ€™s â€œMMPâ€ system prevents problems that we have in the United States, including gerrymandering, negative campaigning, civic disengagement, and undue influence of powerful lobbies.
In reply to Doug Block's post on Tue 13 Nov 2007 :
Ya, point well taken. I was kind of kidding about the how-hard-it-is-to-make-a-doc-about-your-family angle. I've decided that the best thing for right now is just to follow the story and see where it leads. I'm curious what the NYU student response was to your talk on Personal Docs. It's a genre that really seems to divide audiences.
The response was really enthusiastic, Leah. There was clearly a lot of interest. I've actually talked at a few other schools recently and it was similarly great. Doing another NYU class on personal docs tonight (subbing for Thom Powers) and one at the New School on Monday.
Sounds like a really complex subject, Brian. How is the project being funded? And why the title?
John: The project is /not/ funded in it's production stages. I'm paying for everything out of pocket so far. Everything.
I actually brought this up with one of the Prime Ministers I'm interviewing - he taught law in the U.S. at one point and, before I told him it was self-funded, expressed complete surprise that there was any interest in the United States in funding the project, because there's absolutely no interest here in changing the electoral systems here. Everyone here thinks we're the best damn democracy on earth and that there can be no better system, even though they haven't looked at any of the others.
So it's a bit complex - there's absolutely no way this movie would get funded in it's production stages - especially with an untested director. Yet, I don't think a "tested" director would handle the topic, nor do I believe that anyone would believe that a movie about electoral reform would be interesting enough to sit through.
So paradoxically, the fact that no one would possibly fund it and no one would possibly make it is one of the reasons that I feel so strongly that I have to do it. It may be Don Quixote (and my production manager, Pancho) tilting at windmills.
There's other reasons that I feel risking $10000 of my own money on this is a good idea even if it's an abject failure. First of all, I'm considering a major life change by moving to New Zealand permanently. This project will give me contacts and experience in the country so it will be easier to find journalism work. And hey - it's a tough market for reporters - how many of them have interviewed heads of government before they were 30?
But as I said, I can handle the production costs, and I can smush out a rough-cut that looks sloppy but serviceable. It's post-production that gets me - I'd like the thing to look better than an amateur production.
One of the big problems is that, if it wasn't for Makers coming along and providing me with the opportunity for a short-subject, I'd be having the same problem with Following Alexis West as I would for Makers - that is, you need funding to produce a documentary, you need a produced documentary in order to get funding.
Now, I think Makers is a good subject in it's own right and deserves a more professional treatment. But if I don't get it - and that's a possibility - I can still do the best I can with it, shop it around, and use THAT as my previously-produced material when applying for funding for Following Alexis West.
The title, "Following Alexis West" is a reference to Alexis de Tocqueville's "Democracy in America" and is a title less dry than "Democracy in New Zealand" and more serious than "Boyko: Cultural Learnings of New Zealand For Make Benefit Glorious Nation Of Bushistan."
definitely feel your pain, brian, about the whole catch-22 situation of not being able to get funding b/c you haven't finished a doc yet yourself. but as someone who is only perhaps half a step ahead of you in the process, i think it's best if you approach "Makers" mainly as a place to hone your skills and even make your mistakes, and not so much as a way to have a finished piece that you can then use to get funding for other films.
because if "Makers" is not a standout film, it may not get you much further down the funding line. it will allow you to apply for funds, but you won't get them b/c of the stiff competition. what will really help is to get yourself a producer or Exec Producer on board who will give you (and your future project) the legitimacy it deserves.
i'm not saying that you 100% can't get funding yourself; it's just that it is extremely unlikely, given your subject. so go find some films that you like with similar themes and see who produced those -- then contact them with some good footage and a one-page treatment. best of luck!
In reply to Monica Williams's post on Wed 14 Nov 2007 :
You are very welcome. One more thing that I thought might be useful to you, given your subject matter, even though the connection is not perfectly direct - I have recently seen this documentary called "The Century of Self." It spoke to me very powerfully about the turning wheels of evil in our time, and the documentary itself was fairly well-made. http://imdb.com/title/tt0432232/
In reply to Niam Etany's post on Tue 13 Nov 2007 7:40 UTC :
I would love to talk to you more about Muslim associations in the US (or abroad) that would be interested in supporting my project, either financially, or even as partners.
Christopher Wong - The trouble is if there were any directors making documentary films like mine, I wouldn't be making documentary films.
Adam Curtis' entire work is an excellent example of how documentary can explore complex ideas with humour and irony, without becoming a dry academic lecture.
In reply to Katya Myer's post on Thu 15 Nov 2007 :
Katya and John,
Thanks for the recommendation! I have been reading about Adam Curtis but still haven't seen his films as I didn't know how to get them. I just realized that I can buy Century of Self now and I'm so excited. I really want to see The Power of Nightmares too. Thanks for thinking of me and please send any others I should see. I really appreciate the help.
There are some links at the bottom of the Wikipedia article, you can even watch some of his (otherwise unavailable) work online.
I am beginning the research phase of my first doc and have a question. As my doc will be driven by period still pictures, I'm wondering what you would recommend for scanners in today's market? I need to buy one soon to begin laying down the 3000+ photos (all B&W) as well as newspaper articles and handwritten correspondences. So reliability, speed, and an easy but broad feature set would be most helpful. From my investigations, prices would seem to be all over the place. I expect a driect-to-video release and hopefully broadcast. Any help would be appreciated.
Actually many mid-range scanners will be more than adequate for what you need. The main thing is to be clear about things like resolution and how these images fit into your workflow, technically speaking. What format are you working with? What is your delivery format?
If you're working on Mac, you should check out Scan Guide Pro (available via the LAFCPUG store)
Thanks, John. I look forward to checking the link out.
Not sure I understand the thrust of your "workflow" comment. That said, my intent is to scan images and edit them into my project using FCP Studio 2 including both my sound design and DVD authoring. I expect I will need Photoshop or Aperture to manipulate images? I intend shooting with either the P2 or the XL-H1 for interviews. Specific format TBD although I am leaning toward one of the HD formats. I am also still considering shooting GV's and the like with my NPR (I still prefer film where possible). As this is a one-man production, I expect to perform my own final mix (I'm a production recordist by trade) and simply author to DVD and self-distribute. I hope I have answered your questions? Again, any help you can offer is most appreciated.
Well you should certainly make the decision about what format you are shooting and delivering on. Not sure how the mix of film and video will work.
Agreed. I have some research to do on that yet. I'm beginning project research in December and the aquisition of photos etc. No shooting for some time yet. Film telecined with proper parameters to match project settings should present no issues.
At what phase of my project will I need to hire an entertainment lawyer? I have an attorney now that has drafted an offering memo for a group of investors interested in my film. They are lawyers and I'm sure they will be asking some legal questions. Will I need an entertainment lawyer throughout the project?
Certainly no harm in finding one you like early on in the process. You only pay them by the hour, as needed, so why not?
I've got a question concerning a contract between director and production company, more specifically the part which deals with the audiovisual exploitation rights.
What is an acceptable percentage for the director/screenwriter to receive of the gross income for a) cinema release b) dvd release c) tv sceenings, etc... I know this all comes down to what producer and director agree upon, but just wanted to know if there is an average percentage that is usually agreed upon.
As a beginning producer and documentary maker this is all new to me, so just looking for some feedback or online resources that can guide me through the business process of documentary production :)
Stephen, unless you're Spielberg and talking about a big Hollywood movie, directors don't get any percentage of gross income. If they're lucky, they get a percentage of net income. Which, after all the bills are paid off (a BIG if), is known as profit. And how much is pretty much done by negotiation on a case by case basis.
If you want to shoot film, shoot film. Five years ago we made the move to shooting Super16 for everything except interviews. I think it's helped our projects both commercially and financially.
Thanks Doug for your answer.
it makes sense that giving a percentage of the gross income is not really done, since the production budgets of most documentaries already include distribution advances, tv presales etc., money that is directly in the actual making of the movie, not raising the director's salary. Correct?
I'd been receiving some standard contracts between director and production company and they all included paragraphs where you should fill in the blank percentages for these exploitation rights.
anyways, thanks a lot for your help
No problemo, Stephen. We live to serve...
One more question about exploitation rights:
what is the average length in years that the author/director should concede the exploitation rights of the movie to the producer? 5 years? 10 years?
Can this duration affect future distribution deals or do they not affect each other at all?
Stephen, I won't answer concretely because I don't have the answeres, but can suggest given your interest, you might want to continue by googling independent producers' "terms of trade" and "video on demand rights" for various countries, and also explore through any independent filmmaker unions, where you are involved (Is there one in Belgium? If not, if you can handle German look at AGDOK's website, and the UK's PACT ). Electronic media rights are a hotly contested issue. "Should" concede is different from "do". Your questions are clear but the answer can be very complex and depend on territory, it seems to me. I have no knowledge about the US, please note.
"Terms of trade" are just the rules of the game, as agreed by participants,where the percentages and timeframes are spelled out across a sector of the industry. In the UK for example, terms of trade were recently agreed between PACT (indy producers/directors) and various public broadcasters. If you are in Belgium and working locally, my guess is you really do need to talk directly with your more experienced colleagues working in the same market.
Maybe see if you can access the European Documentary Network's magazine, DOX from this fall. I wrote a piece about VoD rights for them and you will appreciate the companion pieces in the same issue that were extracted from other sources – especially a compact version of the PACT agreements (really useful if you are new to the topic). Try EDN on-line. Good luck!
you should get Mark Litwak's book called 'risky business'
Thanks Jo-Anne and Riley for the info and suggestions!
In weighing my options regarding format, I am strongly considering SD and the use of the AG-DVX100B camera. This consideration is clearly money-driven. I would appreciate feedback regarding the current viability of SD, given the present wave of multiple HD formats and the market. Am I severly limiting my market potential by shooting SD? I don't expect theatrical release. Thanks in advance for your input.