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 31 32 33 34 35 36 37 38 39 40 41 42 Resultset_next Resultset_last
Friederike Freier
Mon 5 Nov 2007Link

Hi Neil, standards vary by country so please UK-based producers contribute -- but the bottom line is: your author is the author of a book and will act as an advisor who may open doors. The job of an associate producer is something quite different.

Also, you want to retain the freedom to add other advisors later on without even feeling awkward about it. You need to protect your editorial control. Bringing him aboard as a partner is liable to make this more difficult. If you feel like all you need for your film is his book, without a great deal of other research, you could make it a doc based on his book, but it seems to me this is not what you are striving for as it would potentially compromise your editorial control. Whatever you do -- make sure to have a contract that clearly defines his role (whether he ends up getting a fee or not).

In general, you want to be careful with promising credits that are not absolutely bog standard like camera or editor etc. Credits are ususally subject to the approval of the broadcaster. All international contracts I have handled say something along the lines that the distributor tries to ensure credits are shown by their buyers but they can't promise anything. I.e. if your broadcaster thinks your credits are too long or not in line with their credit standards they will demand the right to edit them at their sole discretion.


Doug Block
Mon 5 Nov 2007Link

Friederike, it might be different in Germany for you but I've been a producer on 3 different ZDF/Arte co-productions and never once been questioned about the credits. Or by any other broadcaster, for that matter. Not saying it never happens. Just not in my experience.

Edited Mon 5 Nov 2007 by Doug Block

Monica Williams
Tue 6 Nov 2007Link

Does anyone have any books they would recommend on the art of interviewing? I'm producing a narrative historical documentary using the disciplines of literature and philosophy and want to perfect my ability to get the right pieces to my puzzle. Thanks!


Jo-Anne Velin
Tue 6 Nov 2007Link

Books? The Craft of Interviewing, by John Brady, a classic journalism school selection of approaches.


Doug Block
Tue 6 Nov 2007Link

I'll vouch for that one, too. It's terrific.


Friederike Freier
Tue 6 Nov 2007Link

Doug, arte is more relaxed about credits. Especially La Lucarne. With ARD member stations or ZDF's main programme it is very often an issue. Most of the time the complaint is that credits run for too long.


Erica Ginsberg
Tue 6 Nov 2007Link

Monica, check out Directing the Documentary by Michael Rabiger. It's not exclusively about interviewing, but he does give some very good tips.


Monica Williams
Wed 7 Nov 2007Link

Thanks for the advice on interviewing! One more question - What is the best way to approach and engage advisors? I know who I would like to ask, I'm just concerned about their workload. What is the relationship like between filmmaker and advisor? What can I ask them to expect? They will most likely be interviewed for the film, but I can't promise anything.


Katya Myer
Mon 12 Nov 2007Link

Dear Monica,

I have three advisors for my film, all professors whose field of inquiry is relevant to my subject matter. Usually, all you have to do is just ask, and if the person is interested, they'll be happy to help. In my experience, a professor who's accumulated a lot of knowledge in the area your asking for advice in will usually be glad to get involved and share their expertise.

In building the relationship with an advisor, I assume that the onus of the work and the contact maintenance is on me. Even in some intense research situations, I usually don't need to speak to my advisors more than once/twice a month. In my case, the best value an advisor can provide is an assessment of how valid my research conclusions are and whether my presentation of various topics in the film is consistent with their historical setting, etc. Out of three advisors I have, I only plan to interview one for the film. Hope this helps. Best of luck with your work!


Katya Myer
Mon 12 Nov 2007Link

Dear All,

I am new to this forum and have a few questions to ask. My current project is a full-feature documentary about Israel. I have done my preliminary research, made an 12-minute long promo for fundraising, assembled a crew (a DP and a sound engineer) and will start filming in two weeks. My main camera is HVX200, and here are the questions I have:

1. What is the best way to archive HD footage? Is it possible to burn it on blue-ray or HD-DVD disks and not keep stored on hard drives? I expect to have a lot of footage to store, and carrying around several terabytes of drive space can be daunting.

2. Even though I have a DP, I hope to do some filming work myself. Could you suggest any books, tutorials or other resources to read about camera work?

3. Could you suggest a minimal lighting package that would be portable enough to be carried by one person, along with the camera?

Look forward to your advice!


John Burgan
Mon 12 Nov 2007Link

1) I'll let the HD experts step in here, but I think you'll find that cost-wise hard drives will work out cheaper than burning to disks. Have you actually done a calculation on how much space you will need?

2) Hmmmm. Why not just let your DP get on with their job? Books won't tell you how to shoot, and it doesn't sound like this is meant to be just an exercise.


David Felix Sutcliffe
Mon 12 Nov 2007Link

My film is about Adama Bah, one of two 16-year-old Muslim girls from New York who were arrested by the FBI in 2005 after they were accused of being "potential suicide bombers." The FBI made no attempts to reveal what evidence they had on these girls and only released them after the New York Times published a series of articles about the 2 girls that led to intense scrutiny and public pressure. One girl was deported, and the other-the subject of my film-was allowed to stay, albeit, with an ankle bracelet and a gag order.

For the past two years her life has pretty much unravelled-her father was deported, her mother has suffered several nervous breakdowns, children's services is constantly threatening to place Adama's four younger siblings in foster homes. The government is now also trying to deport her. On top of this, Adama has been forced to become the primary breadwinner for the family. Her friends all graduated last spring and left for college this past fall (her best friend is at Smith right now) as Adama works, what she calls, "immigrant jobs-" babysitting, house-cleaning, etcetera.

I'm looking for an executive producer (as well as editors) and wondering if there's any interested parties out there, or someone who might be willing to pass on contact info of a good EP/editor fit. I've been shooting for almost two years and am ready to begin post-production. As far as fundraising, I have a fiscal sponsor and am preparing my grant applications, but would like to have a partner help me secure a reasonable budget. This is my first-time working on a full-length documentary and although I've been tempted to downsize it and produce it as a 30 minute piece, I think the story demands to be given at least an hour, if not feature length. My editor is based in California and hasn't been able to work much with me, and is eagerly waiting for funding to come through so he can come to New York and get to work. In the meantime, I'm looking for a New York based editor to help me with my sample. (So far, the sample seems to get such a wide range of responses that I think it's time to begin a new approach. Maybe I could post it here and see what people think...)

Anyway, I know this is a lot to put out there but I thought it would be best to put it all in one place rather than attempt to think of all the relevant topics where these issues could be posted. I would be supremely grateful for any advice veteran doc bystanders are willing to sling my way.

Thanks.


Christopher Wong
Mon 12 Nov 2007Link

david, your doc sounds fascinating, and definitely deserving of more than a 30-minute treatment. it really helped me out on my doc to get an executive producer on board... before you proceed, however, have you answered the question of where you want the piece to be broadcast? On PBS? Theatrical? Non-PBS TV? This will dictate what kind of grants you go after, and thus, what kind of EPs will be best for your project. For instance, my EP is Renee Tajima-Pena who has done extensive work with POV, which is exactly the place I want it to air after festivals, theatrical, etc.


Katya Myer
Mon 12 Nov 2007Link

In reply to John Burgan's post on Mon 12 Nov 2007 :

Dear John,

Thank you for your response. You are right, it's definitely not meant to be just an exercise :) I will need approximately 2.5 terabytes of storage space.

With respect to the shooting, I agree too - the only problem is that I want the film to have a very specific visual atmosphere and so far my DP and I haven't reached a complete agreement on it. Also, I won't be able to have the DP with me every day and sometimes I go to places in Israel where one just needs to pick a camera and capture a unique moment. I wanted to try and prepare myself for that as best I can.

Thank you for the advice!


David Felix Sutcliffe
Mon 12 Nov 2007Link

Chris,
I really love the extensive work that PBS has done to create a strong web-partnership with their films, and although it would be great to have a more mainstream tv audience (via HBO, Cinemax, etcetera) I think PBS has such a strong outreach program that the issues I'm addressing in the film will have a real landing pad, and a chance to significantly and substantially affect an audience, rather than briefly triggering a flash of guilt/sympathy/pity in people's frontal lobes, as seems to be the case with mainstream films that make a splash but aren't sustained by any broader effort to create change.
That said, I think I'm aiming for PBS as well after festivals (and, hopefully, theatrical release). How did you make contact with your EP?


Christopher Wong
Mon 12 Nov 2007Link

through a great seminar at the WGBH Producers Academy, i made contact with a really helpful person at PBS (Kathy Lo). When I told Kathy that I was looking for an EP, she then introduced me to a bunch of different people who would make sense for my project (e.g. Freida Lee Mock, Renee Tajima-Peña, Steven Okazaki). After she made the intro, then I made contact with them through email. Renee turned out to be the best fit.

what i might suggest for you is to find a PBS film (or 2 or 3) that you really like, do some research to see how it was funded, and then if it's a good fit, go and track down that person. if you need help, i can always give Kathy Lo a call on your behalf.

lastly, are you applying for Sundance's next funding round? they are really good at giving first time filmmakers a shot at the money. if your footage is really compelling, and you get funding from them, that really makes it easier to get an EP on board.

i'm sure the more experienced vets here have better suggestions than i.


David Felix Sutcliffe
Tue 13 Nov 2007Link

I am planning on applying to Sundance but I thought that Sundance was rolling. is there a deadline coming up?

As far as your other comments, I have been looking at a few PBS films and eyeing the EP credits, although my experiences in the past with cold-calling people has been a bit frustrating. Perhaps I'll update my list of potential EPs and run them by you to see if Kathy would possibly be willing to be a middle-(wo)man. Thanks for your advice Chris.


Christopher Wong
Tue 13 Nov 2007Link

as far as i know, the sundance documentary fund has two funding cycles per year. though they don't have any official deadlines, they usually issue funding announcements around January and in June -- which is obviously around the time they have their committee meetings where they make the decisions. just make sure you have a good 20-30 minutes of continuous edited footage before you apply... if you want, the D-Word is a good place to get some feedback on your work-in-progress.


Niam Itani
Tue 13 Nov 2007Link

David, Chris, I suggest you carry this to the WIPs because many others do not read this thread.
And, David, if you want to try and contact some of the Muslim Associations in America or something of that sort for funding, probably I can link you to a friend who can help.


Jo-Anne Velin
Tue 13 Nov 2007Link

David - bearing Niam's words, meet me in WIP


Leah Cameron
Tue 13 Nov 2007Link

In reply to Doug Block's post on Thu 11 Oct 2007 :
Hi Doug,

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!

Sigh,

Leah


Reed Thompson
Tue 13 Nov 2007Link

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!


Leah Cameron
Tue 13 Nov 2007Link

Hey Reed,

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?


Doug Block
Tue 13 Nov 2007Link

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.

Edited Tue 13 Nov 2007 by Doug Block

Reed Thompson
Tue 13 Nov 2007Link

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! :)


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