Editor's Note: The following is a keynote address that Marcia Smith of Firelight Media delivered at IDA's Getting Real conference last September. Thank you to Simon Kilmurry, Ken Jacobson and other colleagues at IDA for the chance to talk to the tribe on the last day of what's been an inspiring and illuminating conference that has allowed us to deepen connections with each other—and have some great parties. It's not every day that filmmakers can get together in this kind of atmosphere, so this is a very special opportunity, and there's a real thirst for this kind of gathering. Looking to this
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Editor's Note: Following IDA's Getting Real '16 conference, filmmakers Grace Lee and Marcia Smith approached us about publishing their respective keynote addresses in this issue. And then came The Election, which prompted both writers to reassess their speeches in this new dystopian world. But we decided to keep the speeches as they are—as self-contained calls for action that were just as powerful in September as they are now—and reinforce their combined urgency with introductions from each of the authors. In this post-election moment, we need more than ever to "get real" about who tells the
Editor's Note: At the IDA Awards last month, we announced that the John D. and Catherine T. MacArthur Foundation would be supporting a major four-year project that will provide support to documentary makers and journalists through grants, mentorships, training and access to resources. You'll be hearing much more about the particulars and parameters of the initiative over the next few months, and from the editorial department at IDA, we'll be rolling out content every month that addresses specific issues related to the project. To kick things off, filmmaker Brian Knappenberger, whose new film
By Louis Alvarez, Andrew Kolker and Paul Stekler Since the election of Donald Trump as president and the triumph of conservative Republicanism in Washington, there has been much talk among progressives about living in a "bubble" of their own making, surrounded by like-minded people culturally, and geographically unfamiliar with Americans who hold sharply divergent views. Even President Obama made this one of the themes of his farewell address. As might be expected in the age of social media, there has been some strong pushback to this notion and then, inevitably, a backlash to the backlash. As
Few things are more intellectually pleasurable than a good paradox. Take, for example, documentary film distribution in the digital era. As content providers proliferate, jargon abounds and a new language surfaces based on acronyms for "Video on Demand" service types: "TVOD" (Transactional/pay-as-you-go viewing like iTunes), "SVOD" (Subscription-based like Netflix), "AVOD" (Advertising/free but shows commercials) and "OTT" (Over-the-Top/across the Internet). And let's not forget about a traditional theatrical release and community screenings. So what's the prevailing wisdom about distribution
Some of the great recent documentaries— Citizenfour, Cartel Land, The Overnighters, Darwin's Nightmare, My Country, My Country—were shot with little or no sound help. Working alone or as a team of two is sometimes an economic necessity and sometimes the only way to gain access. High-quality in-camera sound, the extended dynamic range of digital sound, near artifact-free auto gains and inexpensive wireless systems make it possible—although maybe not ideal—for one person to do both camera and sound. The kit proposed here is based on what's on the market in Fall 2016. It can be used by a one or
My partners and I have been making films for over 20 years. During this time the basic pathways of film distribution have shifted dramatically. The first big change took place in the late '90s and was sparked by the proliferation of high-quality/low-cost video, which made the process of filmmaking much more accessible. This led to a huge surge in the number of films being produced, thus creating a more competitive landscape in regards to both festivals and distribution. As the tools have gotten cheaper and the distribution platforms have become more plentiful, this landscape has been morphing
For documentaries seeking theatrical distribution in a crowded marketplace, a premiere at a major film festival is still the primary way to generate buzz. All six films nominated for Best Feature at the 2016 IDA Documentary Awards premiered at a major festival, although two of them arrived there with a distribution deal in place. But many successful docs follow a different path, whether by choice or circumstance. This case study will focus on one such example. When their film was passed over by certain international film festivals, the team behind 2016's critically acclaimed biographical
Vancouver-based doc maker Ryan Flowers preceded his roundtable pitch at the 2014 International Film Festival Amsterdam (IDFA) Forum by doing a set of push-ups with producer Sahand Zamani. The pair dropped to the ground in the Compagnietheater in a Rocky-style warm-up and, amidst cheers from bemused observers, worked up a sweat to present their feature doc Jimbo. "It's a big thing," recalls Flowers, who was tackling his first feature film and pitch. "It felt like I had to give a TED talk. It's not just rolling up and winging it—we really worked hard on the pitch." The Canadian director spent
When film theoretician, professor, author and critic Bill Nichols comes out with a new book, we sit up and take notice. His ten previously published books form a comprehensive and engaging exploration of the genre. Representing Reality: Issues and Concepts in Documentary, published in 1991 by Indiana University Press, is perhaps Nichols' most widely referenced book by practicing filmmakers. The best-selling Introduction to Documentary, second edition, 2010, has become a staple text in college film studies programs. His "Documentary Modes of Representation," drawn from his book Axes of