I guess it wasn't until I started making documentary films that I realized the prospect of failure was so acute. There's no guarantee that what you start out filming will be as captivating as you imagine. And the more stripped down the style, the higher the risk of failure. That's exactly why I so admire the documentary films of the '60s. I'm referring, of course, to the classic cinema vérité works of Robert Drew, DA Pennebaker and the Maysles Brothers. It's what I grew up on in the '60s and '70s: the filmmaker as proverbial fly on the wall. Human behavior, the subtleties of expression--what
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Latino Producers AcademyApplication Deadline Extended to Wednesday, June 8 NALIP believes that a Producer is the creative originator of films, a self-starter who recognizes ideas that have artistic or commercial merit. Producers must have passion, sensitivity for story and audience, plus the organizational ability and practical smarts to put together a project, then guide it to and through the marketplace. NALIP’s Latino Producers Academy™ (LPA) provides our Fellows with the practical skills and knowledge to accomplish their personal goals and realize their artistic dreams as filmmakers.The
For New Series "50 Documentaries to See Before You Die"
A Review of John Anderson and Laura Kim's 'Wake Up Screening'
'49-Up' continues series that began in 1964.
Cinematographer Haskell Wexler on fiction, film, and foreign policy
Looking at the backgrounds of accomplished filmmakers is a most interesting exercise, and to study the emergence of Florentine Films--now 30 years old--means learning about some of the most interesting and creative individuals of the documentary film. Ken Burns, Roger Sherman and Buddy Squires met and worked together as students at Hampshire College in Amherst, Massachusetts. Larry Hott, who did not actually matriculate at Hampshire, worked on films and learned much of his art there, although he began his career as an attorney, having attended nearby Western New England Law School. The four