It was a familiar scene. The teacher would thread the projector, hit the switch and dim the lights. A flickering image of a dung beetle or herd of wildebeests would appear on a rickety old screen, as the voice-of-God narrator explained it all in a somber and dispassionate tone. Within minutes a host of little heads would hit their desks. It’s clear to me now that all those teachers wanted was a little peace and quiet; those early natural history films were guaranteed to knock out a gaggle of unruly viewers. Natural history and wildlife programming has come a long way. Instead of putting people
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For the dissident audience the mission of the environmental documentary is to corrode the mantra of “development equals progress, jobs, and a strong economy.” For an apathetic audience, the mission is to open a wedge in the indifference. For younger audiences the mission is to educate and recruit a new generation to activism. For sympathetic audiences the mission is to inspire and energize the troops. This is the complex, persuasive task The Last Stand attempts in telling the knotty story of the Ballona Wetlands and the proposed Playa Vista development. Though the film includes voices
If someone were to hold a competition to create the most difficult motion picture format for capturing wildlife behavior, it is hard to imagine a more creative entry than 15/70 (IMAX). Having directed two underwater 15/70 films (one of which was produced by my wife, Michele) and been underwater DP on several others, I know what it is like to be bludgeoned by the cumbersome 15/70 format. But the inherent handicap a wildlife filmmaker assumes when working in 15/70 is one reason why I keep coming back for more. I love making underwater IMAX films because it is so hard. One must relish challenges
Technologies such as DVD and the Internet have radically changed the marketplace for non-theatrical distribution of film. For the specialized interests of documentary distributors, these technologies have not only changed how these programs are delivered to their respective audiences, but, in some cases, the presentation of the film itself. Though not all non-theatrical distributors have embraced these young technologies, each have had to consider questions of both their respective benefits and potential perils. Dan Hanby is vice president of PBS Consumer Products and oversees acquisitions and
Those who haven’t made documentaries may wonder why anyone would want to. Fundraising for filming and editing can take years. Once you’re finished, the chances of seeing the finished product on the big screen are virtually nil, and slim on primetime TV. Even if the doc is broadcast, then what? It still needs marketing and distribution. Many documentary producers sign their films over to distribution companies, even though they typically take at least 75 percent of the gross, leaving the filmmaker with less than 25 percent. After an initial promotional push, the distributor’s focus almost
Click. Click. Click. Click. Click. I will never forget that sound and the anticipation I felt as I climbed the first crest of the roller coaster ride in the opening scene of This is Cinerama. I was ten years old in 1955. Even though I knew I was in a special theater, capable of projecting three 35mm images simultaneously, I was not prepared for the impact. I sat close to the extra wide, deeply curved screen, filling my peripheral vision. Seven-channel sound boomed around me. People were screaming and laughing as This is Cinerama unfolded before us. More than a film (frankly, all I remember
Allow me to introduce you to the new Executive Director of the International Documentary Association. She is a high-energy, creative, capable executive with miles of experience and tons of contacts. Her name is Sandra Ruch. Sandra worked for over a decade with PBS on the programming and promotion of Masterpiece Theatre and Mystery!. Her daily involvement with these programs allowed her to interact with filmmakers, producers, broadcasters and station programmers. She also helped produce Pride of Place, a 12-part documentary on American architecture for PBS. As President of Marketing for New
To be the guest of a festival and watch one’s documentary on a screen is a dream and a privilege, but traveling to Durango Film Festival 2001 in Colorado became more of a nightmare. Caught in a snowstorm in Denver and re-routed to Farmington, New Mexico, and finally arrived at my destination some 14 hours after leaving LA. I immediately promised myself this would be the last festival I would attend—until it concluded some nine days later. Nearly 200 miles from the nearest interstate, at 6,500 feet in elevation, the town of Durango was a Shangri-La, a cultural melting pot of some 15,000 old
Fall has arrived. The kids are back in school. And all good fans of the documentary art form have an opportunity to see some of the best documentaries of the year during IDA's fifth annual DOCtober™. DOCtober™ is a festival dedicated exclusively to documentary films. No fictional features need apply. About 15 films will be shown once a day for a week at the end of October. Both feature-length and short documentaries will be shown. During the first four DOCtobers™, 42 films qualified for Oscar® consideration. Of those, eight were nominated, and two won. You will not be disappointed. During the
Dear Readers, Welcome to nature, or the world of nature and wildlife documentaries, a genre that has seen a surge in popularity on the international distribution circuit over the past several years. This issue affords you a glimpse at the perspectives of programmers and practitioners alike. Barry Clark, one of the more respected authorities on nature filmmaking, offers his insights into the state of the genre—where it is now and where it can and ought to go. Michael Rose talks to executives at three of the leading programmers of natural history docs—National Geographic, Discovery Channel and