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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.

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Doug Block
Sat 21 May 2005Link
that's why networking at festivals, markets and other industry events
is crucial. everyone looks to make contact with the various
commissioning editors but meeting other producers is just as
important, maybe moreso for international co-productions.

James River Martin
Sun 19 Jun 2005Link
{LINK NOT IMPORTED}: Steve Holmes {LINK NOT IMPORTED}:

"We better take this over to "The Mentoring Room." "

,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,

I'm now 99% decided to break my initial project into two. The Big Idea
I had in mind was, to be done right, a pretty high budget operation.

I'm thinking of doing a very low to low budget thing, mosly on my own.
It would focus on "the resistance", mostly protests and demonstrations
... and some narration and/or interview material slipped in. The
footage would, theoretically, mostly come from others who were at the
events and happened to be equipped with a video camera. I'd play
writer-director-editor-producer. I'd write a grant proposal and have
it funded as a project of a non-profit org. I have connections there.
Then I'd have a start. A start which will help me to take on the
bigger project. Also, I'd have gotten access to important footage for
the Bit Idea project.

What do you think?

Steve Holmes
Sun 19 Jun 2005Link
Who's your audience? Has anything like this been done before? If so,
how will your project be different? Do you plan to include new
interview footage? I expect you'd want that to provide a frame for
the story.

James River Martin
Mon 20 Jun 2005Link
Who's your audience?

Well, the smaller initial project would have a lot of "the choir" as
an audience. That is, those who are hip with and grooving on the anti-
car culture movement worldwide (mostly English-speaking nations). The
audience would also be their friends and family, and people standing
on the edge looking in from out there: Curious folks.

"Has anything like this been done before?"

Not exactly, to my knowledge. Though other films are sort of similar.

>>> Back in a bit.

James River Martin
Mon 20 Jun 2005Link
"If so, how will your project be different?"

The docs I am aware of, and which are similar are either differently
or more narrowly focussed. There are one or two docs on Critical
Mass, there are docs which are critical of automobile saturarated
suburbia, and so on. I'd tell a similar story from a much different
angle and approach, the story of "the resistance" in the form of many
and diverse demonstrations and protests world-wide. To my knowledge,
it hasn't been done.


more in a moment.

James River Martin
Mon 20 Jun 2005Link
"Do you plan to include new interview footage?"

Probably. Almost certainly. But perhaps not.

"I expect you'd want that to provide a frame for the story."

I think you are most likely right about that. Nevertheless, I *might*
do something closer to a "Baraka" (Fricke) or "Koyaanisqatsi"
(Reggio) --- Not exactly, but closer(?).

One possible alternative way to handle it is to publish a booklet of
the same dimensions as the DVD, and that booklet could tell the story
in words while allowing the imagery and sound to stand independent.

I'm leaving a door like this open until I've lived intimately with
the footage and played with some editing and what not. I am both a
scholar and an artist, and if the artist takes the lead ... well, he
might want to go elsewhere than the direction the scholar might
prefer.

In any case, it is perhaps too soon to lock in a plan ... If I'm
going to be editing and all. I can work intimately with the material
and follow it where it wants to go, this way. The Big Idea requires a
pretty focussed script which is also flexible. But I think I'll do
something small before I try to do a half million dollar blockbuster.

Steve Holmes
Mon 20 Jun 2005Link
I dunno, James. If I see a bunch of people jumping up and down being
passionate about something, I want to know more about *them.* Their
issue becomes secondary. What drives, er, buses people to get worked
up enough to be part of the "resistance"? Why not sit home and watch
videos, or better yet, take a drive in the country? Programs with no
narration or interviews work only when the subjects can't talk. When
they can, I want them to do so.

As to your Big Idea, half a million is a lot to spend on any doc.
Unless it's one of the well-publicized exceptions, you'll never come
close to making back a tenth of that. With DV and editing on home
computers, shows can be done for far less.

James River Martin
Mon 20 Jun 2005Link
Your paragraph 1.

Well said, and good point.


Your paragraph 2.

I'm very much inspired by two wonderful docs called (a) Manufacturing
Consent, and (b) The Corporation. I've watched both many times,
making a study of them. And I've watched the Additional Features, or
whatever they are called, on the DVDs--The parts not shown in the
theatre. These were huge projects, with lots of people working on 'em
over a long span of time. I never did learn how much they cost to
produce, but I did learn that they were partly funded by grants from
the Canadian government! Those Canadians!

I wouldn't be surprised to learn that "The Corporation" had a half
mil or more budget, especially including promotion.

Of course, I can remain inspired by these films and shoot a little
lower. ;)


James River Martin
Mon 20 Jun 2005Link
What drew you into the world of documentary filmmaking, Steve?

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