The Mentoring Room - Ask the Working Pros

hi everyone,
massive questions, i know, but can anyone point me toward a good website
or someting that discusses documentary financing methods and the
differences between them. i'm a little confused abour presales versus co-
production financing versus corporate funding, etc. and what's the best for my
film.

try www.marklitwak.com. i'm sure there are also books on the subject
at amazon.com.

Lots of good books available.
Pre-sales: Broadcaster signs an agreement to pay a fee before doc is
finished. Money paid when doc is finished. Guarantees them input and
right to air.
Co-production - Broadcaster, production company - supply money and
help guide production.
Foundations - provide grants to fund all or part of a doc.
Corporations - provide money to fund all or part of a doc.
Corporations pay you to make a doc.

with a pre-sale, part of the license fee is paid on signing a
contract. in fact, could be up to half.

thanks - doug - meant to include word "most" Still recovering from
Reykjavik.

heh heh ;-) (inside joke - you had to be there)

I'm wondering if anyone could tell me what exactly is the role of the executive
producer in a documentary? What are his/her responsibilities?

prestige. money. guidance.

I'm assuming by prestige you mean that the EP lends his/her prestige to the
doc? In terms of money-is the EP generally responisbility for funding the show
or looking for the funding? And guidance, how much is the EP involved in the
content of the show, or does this vary from production to production? Thanks
for your help!

it varies, dana. they could simply lending their name, but usually
they try to raise money. sometimes people buy their way to an exec
producer credit, but that's kind of rare for docs (drat!).

Concerning documentary scripts required for certain european funds
(eg.Berlinale's World Film Fund):
What kind of script are they asking for? they fund creative feature
docs intended for theatrical release,
Should one attempt to write a script the way a fiction film is
written? I'm thinking of films such as "The Story of the Weeping
Camel" or "To Be and To Have".
Thanks for your help!
A.

I'm not sure if this is the right place to ask this and if not I
apologize. I'm trying to get funded for a documentary on a troubled
family and I've put together two trailers in hopes of getting
investors interested in my project. The trailers were shot with a
very consumer camcorder and I've seen and heard better microphones on
the headsets of the employees at MacDonalds.

I was able to get two of the people from the family talking and from
that made the trailers. My question is would some of the experts or
who ever would care to please go have a look and let me know what
they think. It's at www.mvmaker.com first page has two links for
each trailer. I need these to be good enough to attract investors so
any comments are welcomed. You can email me at mvmaker@mvmaker.com
with your comments or post them here.

Thanks in advance JFL

Hello y'all,..
.
I think that it is obvious to most of us that
too many documentaries do not get the
exposure they need and deserve.

I just got back from the United Nations
Asssociation Film Festival where I saw
several
great works which will unfortunately
bearly see the light of day outside of
the festival circuit.

A couple of buddies of mine (who are
computer saavy) and I have been toying
with the idea of creating a website for
the consolidation of documentary trailers.
A searchable catalog of sorts, where
the viewing public can go to get a sneak
peak at what is out there, learn about
the film makers and how to buy and
or rent the work in question.

This site would specialize in
documentaries.

We are trying to guage if this something
that fellow documentary filmmakers would
use?

In order to have the site support itself we
would need to charge something along the
lines of $100 per film per year. Streaming
Quicktime clips would be the main format
used. As a filmmaker and avid documentary
viewer, I know that this something that
I would personally use, but we are trying
to guage how other filmmakers feel about
the project.

Any thoughts?

Gregory

Gregory,

I cannot speak for all documentary filmmakers, only for myself. I am
all for greater exposure for documentaries and the ability to put
trailers online. I am not sure I would pay $100 for this service
though since I doubt that many of the people who are actually in a
position to buy documentary films for television, festivals, or the
educational market find those films through the Internet.

personally, i'd stream a trailer on my own website before i'd pay to
have it on another. unless you proved over time that buyers were
coming to the site and actually following up. it's a nice, idealistic
concept, gregory, but i'm skeptical if it would work.

Thanks for your input Erica and Doug.

So I suppose my question then is, where do people go when they have a
friend say to them,.."Damn,...I just saw this great documentary you've got to
check out"....or when they even just feel like perusing what documentaries are
currently out there.

If not 100 dollars then less?...The site does have to support itself, which I
realize will be directly related to it's marketing and ability to catch the eye of
the small but growing community of documentary fans. It could actually be
used by festivals and filmmakers as a direct link to streaming previews.

I just can't help but think of how a centralized location where film makers can
display a little teaser or two of thier work alongside their resume, web site and
a "where to find" link could be a great service to documentary makers as well
as their viewers and funders. Am I kidding myself? Is there some sort of
disadvantage to having one's work up alongside those of others?

Help me out here.

usually the film's website. there are also places like doc-u-rama,
mediarights.org, and the distributors.

Greg I guess the bottom line is.....can the site assure exposure to
the people that count. Think of it like this......The filmmakers that
will benefit the most from a site like the one you mentioned are
those who have a limited budget and a hundred bucks to some can mean
the difference between making the rent and getting kicked to the curb.

I for one would pay the money only if I was convinced that my film
would get the right exposure and a fair shot. The idea is admirable
and has been done with other sites, and some of those are no longer
around. For a $100 you can obtain your own site and brand identity
which may seem more professional and less desperate to investors.

Imagine sending a potential investor to a large site with hundreds of
doc clips all begging to be seen. Would be kinda hard to pump that
investor up for your project if they get the impression that "what
chance do we have if all these people can't get their's
made/finished/distributed."

The key word/s are exposure, exposure, exposure.

hello nice people!!!
i am writing a script for a documentary about the lack of intimacy
in the western culture and some new directions in that field that
can be helpfull for the viewer.
the problem is that we have matter of fact 2 narrarive in one movie.
one, is a story based narrariva, verite style. the second is a
topical narrative which is basically visual article about the
history of the intimacyless.
questions :
do you have some advices about how can those two different styled
naratives be one next each other.
the second help i need is about refernces on the topical documentary
style.

thanks,
eliran {from israel}

hey eliran, the isssue isn't that you have two different narratives
going, it's that you have two different styles. and it's difficult
for anyone to offer real advice until it's in a rough cut stage. it's
a tough thing to pull off and better if you don't try, but it's
certainly been done before.

I am currently in pre-production for a documentary I will be shooting in Minneapolis in
December that will be featuring two hip hop musicians affiliated with Rhymesayers
Entertainment. I would like to produce a DVD of the documentary once it is finished so I
am trying to find some sort of profit sharing contract that I can sign with the musicians I
am working with to specify who gets what if the doc. ever makes any money. I have
searched through "The Complete Film Production Handbook" as well as a book of
contracts for independent filmmakers and haven't found what I am looking for. I would
draw up the contract myself but I am afraid I might miss some legal detail that will bite me
later. Does any one know where I might find a mock up of a profit sharing contract that I
can use?

if so my e-mail is austynsteelman@hotmail.com.

I also posted this question in the classified section, but it seems like this is more the place
to post questions. Still getting used to this site.

Thanks for your help.
Austyn

i recommend you draw up the contract yourself, austyn, and get an
entertainment lawyer to check and see if you've missed anything.
that'll keep the cost down. you might check out volunteer lawyers for
the arts, too.

Friends!

Can anyone recommend a solid book on interviewing technique?
I know that interviews can be approached as science or fine art;
with many phases of questioning, each one framed in specific
ways, targeting answers, drawing the _subject_ from the
subject... I am looking for the heavyweight material (no Cliff's
notes/amateur's guides). Whether you have a personal favorite
book, guide, collection of essays, etc.--or if there is a
discussion on the subject in this forum's archives--I look
forward to reading up on all your recommendations.

Best,

Scholtens

The Craft of Interviewing by John Brady is the best book on the
subject I've ever read:

<http://www.amazon.com/exec/obidos/tg/detail/-/0394724690/102-7955436-
6986551>

Thanks Doug, I ran to the library immediately after receiving
this recommendation Saturday morning, and ran through the
book--cover to cover! It is an excellent guide! I also checked
out--on a tip from an Amazon reviewer--a book called
"Creative Interviewing" by Ken Metzler. Don't be scared off
by the 'artsy' sounding title, creative interviewing is defined
by Metzler as interviewing that 'creates' responses and a flow
of ideas that could not have existed with just _one_ of the
two participants. John Brady's guide is experiential,
anecdotal, like a self-help book. Metzler's book is more
personal (using personal rather than general anecdotes) and
more academic at the same time. It is less prone to the
pitfalls of being outdated (as my Amazon reviewers so
eagerly pointed out), but let me add that it has the most
obnoxious illustrations; reminiscent of junior high textbooks,
or any elementary foreign language book. Both guides,
together, have been invaluable in the preparations made for
my first interview for my new documentary, to be conducted
tomorrow afternoon. Cross your fingers for me!

NWScholtens