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This feature doc is a very quiet film but one of the most beautiful, moving and masterful out there. It is, like many of Kim Longinotto's films, notable for its grace, compassion and oceanic depth. But in this particular setting, with executive producer Roger Greaf behind it, it is one of her best. The film is set in the Mulberry Bush School in Oxford, a school of last resort for children with extreme behavioral problems. The children are given three years at this boarding school to try to turn their lives around. Endlessly patient and determined staff members verbally reason with the boys
Left to right: Sam, Harry, Jack and Albert Warner -- the four Warner Brothers. Courtesy of Cass Warner When Cass Warner squeezed her beloved grandfather's hand on his deathbed, she didn't realize she was making an implied promise that would follow her through the rest of her artistic career. The hand belonged to Warner Bros. founder Harry Warner, and Cass has become a chronicler of the family history, determined to tell the real story of the four Warner brothers from a personal point of view. She wrote Hollywood Be Thy Name: The Warner Brothers Story, which is now in its sixth printing, and is
Five docs-in-progress earn grants averaging $25,000 each.
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IDA Award for Outstanding Documentary Achievement in Editing
In its Fall 2001 issue, Nieman Reports, published by the Nieman Foundation for Journalism at Harvard University, explored the convergences and divergences of journalism and documentary, fielding richly rewarding essays from such leading lights as Robert Drew, Michael Kirk, Cara Mertes, Ellen Schneider, Robert Richter, Chris Hegedus and Michael Rabiger. Given that this publication sprang from academia--dynamic crucible for intellectual inquiry that it is-- Documentary was interested in the perspectives of educators at journalism schools, and, in particular, the Columbia University School of
You are about to pitch your concept or completed documentary to a channel. But what do they pay? If your "ask" is off the map, you look unprofessional. Too high and they might laugh and walk away. Too low and you're leaving money on the table. Documentary license fee benchmarks used to be so hard to find. Perhaps the scarcity of information dates back to the clubby broadcast era, when the niche was comprised of public broadcasters in a handful of countries, and even fewer commercial networks. Now, factual television is a multi-billion-dollar, global industry. And the television sector's