the worldwide community of documentary professionals
You are not signed in.
Log in or Register

The Mentoring Room - Ask the Working Pros

This is a Public Topic geared towards first-time filmmakers. Professional members of The D-Word will come by and answer your questions about documentary filmmaking.

Resultset_first Resultset_previous 3 4 5 6 7 8 9 10 11 12 13 14 Resultset_next Resultset_last
Byrd Mcdonald
Thu 19 Sep 2002Link
Hey D-Word, thanks for your continued existence.

I have visited these forums sporadically over the last year, but rarely posted.
I'm posting now because I'm having a major melt down and I want other
opinions or some perspective.

i'm in the painful final stages of completing a documentary I've worked on for 3
years about people in the haunted attraction industry. The film profiles
various men and women who have been building and directing "haunted
houses" for years. It's a portrait of a strange, unusual industry, but more
importantly a portrait of the creators, and what makes them do what they do,
and what makes patrons pay money to be scared.

In researching haunted houses, I of course read about "hell houses" and even
went to one in Denver for a week, where I shot some of the best footage I
have. (For those not familiar, hell houses are church ran haunted houses that
intend to scare morality into patrons through skits involving abortion, drugs,
homosexuality). However, the hell houses always stuck out as not belonging
in my movie, which is very much a valentine to Halloween and people who
draw some creative energy from this time of year.

Then, George Radcliff's HELL HOUSE emerged and begain getting raves at
different festivals.

My issue is that i fear people are going to compare my film to HELL HOUSE in
some way. HELL HOUSE is a wonderful movie (I've seen it), but very different
from my film. however, they are both about haunted houses, just opposite
ends of the spectrum.

I know this happens every day, that people get "scooped" before their film is
done. But, I am looking for advice on how to position my movie so that it
doesnt' get compared to HELL HOUSE and doesn't get perceived as a small
subject which another movie has already covered.

Doug Block
Thu 19 Sep 2002Link
I think there was one year where three different docs about women
boxers came out. All were very good and quite successful.

Moral is, I think you position your film as if Hell House never
existed. There's always room for different p.o.v.'s about the same
(or similar) subjects.

Byrd Mcdonald
Thu 19 Sep 2002Link
Thanks Doug.

I'm in the trenches of finishing the film, and sometimes it's hard to put
everything in perspective.

Back to the trenches, Sundance deadline on the horizon.

Byrd

Robert Goodman
Thu 19 Sep 2002Link
Wish you the best of luck with Sundance.

Byrd Mcdonald
Fri 20 Sep 2002Link
Thanks Robert.

I know the chances are slim. You gotta keep hoping.

I'm done rendering. See ya later.

Byrd

John Greer
Wed 25 Sep 2002Link
All, Anybody !!,

This issue is driving me crazy because everyone I ask has a diferent
answer. So here goes nothing...... Do I, or Do I not need a signed
release from all living persons that is in a shot segment. For
example:

I shoot footage of an event. The footage shows groups of people doing
various things. Some shots show individuals taking part in
activities. Some shots are wide shots showing multiple activities
going on. In all but the widest shots people are recognizable. The
footage will be used as part of a doc.

Question: Do I need a signed release from every recognizable person
in every shot used? Some say I do, but can't tell me why. Some tell
me no unless the person has a speaking role.

In films or docs where street sceans are shot from a moving vehicle
showing hundreds of people walking, talking, working, and playing. Do
they go back and get signed releases from all those people !!!???? I
don't see how that is possible. Thanks for any help at all in this
matter.

John

Doug Block
Wed 25 Sep 2002Link
I'm not an entertainment lawyer (okay, disclaimer out of the way)
but... personal releases are less about fear of lawsuits and more
about the need to get Errors and Omissions insurance, which any
broadcaster or distributor would want before taking on your film.

If someone sues, it's more likely they'll come after the one with the
bucks, not the poor indie docu filmmaker.

Sure, it's safer to get as many releases as you can, particularly if
they say something on camera. Or, if it's a sensitive or
controversial situation. But, generally speaking, the main concern of
the lawyers scrutinizing your film is do you have the releases of the
featured people in your various scenes.

In crowd scenes, I don't worry too much. Am I 100% guaranteed to
pass the E&O test? No. But, I calculate the slight gamble against
the knowledge that it's impossible for me to get everyone's release.

As a fallback, in post-production, you can always fuzz out the face
of those people in crowds you didn't get releases for.

Erica Ginsberg
Wed 25 Sep 2002Link
I would echo what Doug says. I've asked two different lawyers and
gotten two different answers. The one I like better is to get
releases (1) for those with "speaking parts" and (2) for others if
the environment is one that could be controversial or embarassing to
the subjects (a strip club, an infertility clinic, a communist party
meeting, etc.). Of course, a park may not seem controversial, but if
you catch a man and a woman holding hands and they just happen to be
having an illicit affair, well how are you to know? But it's not
something to worry about too much. As Doug said, when it comes to
documentary filmmakers, it's not like we have so many assets to drain.

When filming a speech or a performance, you can also put signs at the
entrance or have the speaker announce your presence and what you are
doing this for so those in attendance have at least been given fair
warning. I know this could be an issue on an upcoming shoot I have
where I'll be filming a church service where there may be many
illegal immigrants in the pews. I am planning to ask the priest (who
speaks the language of the congregation) to announce the filming one
week in advance so those who do not want to be filmed can opt to go
to a service at a different time.

John Greer
Fri 27 Sep 2002Link
Dough & Erica,

Thanks for the response. This is one of those areas that seems
to be a catch 22. There seems to be no 100% right or wrong
answer. If there are large groups of people in the footage, there
is just no way humanly possible to get to all of the people unless
the whole thing is staged. Well............... I guess the only option is
to get as many releases as possible and pray about the rest !
What else can you do. Thanks.

Peace

Stephen Goldberg
Tue 8 Oct 2002Link
Doug and Erica:
Im a lawyer and and a filmmaker. Im also shooting in a controversial
environment.The release in a situation like the "illegal immigrant"
context has no legal effect. You cant be sued by someone doing
something illegal for filming them while doing it. Its simply to
get cooperation and access when filming. Also people doing anything
in public have no "expectation of privacy" thus releases are legally
unnecessary. Still for my peace of mind I try to get a release from
anyone I shoot in an enclosed space.

Join this discussion now. You need to log in or register if you want to post.