New Day Films celebrates its 40th anniversary in 2011.
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Rahdi Taylor of the Sundance Documentary Film Program joins Doc U: Focus on Funding.
All-day event at The Standard, Downtown LA will focus on what gets your film funded.
IDA presents panel; two 2011 DocuWeeks features at PaleyDocFest in New York.
At $1,200 for two days, not counting workshops, RealScreen Summit ("Bringing The Best in Non-Fiction Together") doesn't exactly put out the welcome mat for grassroots filmmakers. Held in Washington, DC, the week after Sundance, at the end of January and beginning of February, the summit doesn't draw red-hot doc filmmakers and their posses of agents and theatrical distributors, either. To narrow the demographics even further, if you're looking for mind-blowing film screenings and wild parties afterwards, you probably don't want to go to RealScreen, either. It's a working conference, not a
Doc U has exciting panels coming to Chicago, New York City, and D.C.
Over the next few weeks, we at IDA will be introducing our community to the filmmakers whose work will be represented in the DocuWeek TM Theatrical Documentary Showcase, August 18-24. We asked the filmmakers to share the stories behind their films the inspirations, the challenges and obstacles, the goals and objectives, the reactions to their films so far. So, to continue this series of conversations, here are Phil Grabsky, director/producer, and David Bickerstaff, director, of Half Life: A Journey to Chernobyl. IDA: How did you get started in documentary filmmaking? Phil Grabsky: I started in
The Producers Guild Awards is accepting submissions for the documentary feature category.
DocuWeeks 2010 alum Louder Than A Bomb wins HUMANITAS Award in the documentary category.
The public's insatiable appetite for "reality" entertainment is transforming the market for documentary talent. Even professionals with the purest documentary film pedigrees now actively pursue parallel careers in the frankly commercial world of reality productions. For many, if not most, this crossover is both welcomed and natural. For established documentarians such as Kristine Lacey, reality work "pays the bills" in between documentary projects and can provide much needed financing for future projects. Lacey is currently making a documentary about the 1956 Summer Olympic water polo match