With much regret, I write this farewell to Tim Lyons, dear friend and former editor of International Documentary. I was one of his writers, specializing in foreign and domestic documentary film festivals. Our working relationship lasted about three years, until his departure, which I protested vigorously, but in vain. After that, until his death, we kept in touch by phone and letter and by exchange of materials, at times. He was a special bloke. I miss him now and will remember him for that special comradeship between writer and editor. Often the writer is impulsive and extravagant, the editor
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With Jack, it was a friendship that went back over 40 years. I had been working as an independent film researcher in New York when David Wolper persuaded me to come out to Los Angeles, and join his “huge” organization. I still remember my shock at entering the touted headquarters of Wolper Productions, which consisted of two rooms in a beat-up building on Sunset Boulevard. Wolper had the larger office. The smaller room contained a desk, which I would share with Jack. Sensing my disappointment, he put me at ease with a few irreverent remarks about Wolper. Talented, buoyant, carefree, blessed
Every good documentary has its own compelling story, concept and point of view. Writing documentaries on historical subjects carries an additional challenge—the filmmaker must tell a visual story, but he or she can’t just take a camera and record what happens in reality. On a March morning at the Writers Guild of America West office, Joan Owens-Meyerson gathered together five award-winning WGA writers for a lively roundtable discussion to explore the creative challenges of writing historical documentaries. Lyn Goldfarb’s credits as a writer, producer and/or director include the Academy-Award®
Lonely Boy stands alone, teetering on a precipice between everything that came before and everything that came after. When I first saw it in the late ’60s, we already knew it represented both a lost world of soppy innocence and a brand new world of very cagey cinema. It is a brilliantly photographed, tightly structured, elegant 30 minutes in the life of teen idol Paul Anka, his teenage fans and a film crew from the National Film Board of Canada. It is enormous fun, and it is still for me the granddaddy of all the great rock’n’roll films, though it was made in the last flickering days of pre-R
Dear IDA Members: The big news at the IDA is that we have a new Executive Director: Sandra Ruch. She was selected as the final candidate at a special board meeting held April 26 at IDA headquarters. Over 150 applications were received and reviewed. Two committees worked on the search. First. Barbara Leigh Gregson and Steve Poster headed a search committee that included Richard Wells, Cara White and Rick Trank. They worked for months laying the foundation for the final search, headed by Larry Cate. Richard Propper, Mitch Block and Lyn Goldtarb rounded out the committee. Lynne Littman, Sven
Dear Readers, It is never an easy task to salute the passings, in each issue of ID, of so many dignified members of the documentary community. But when we lose members of our own IDA family, as we did one weekend in April, the task is onerous, indeed. In this issue, former IDA President Mel Stuart reflects on Jack Haley, Jr., and Gordon Hitchens, a longtime contributor to these pages, recalls his 20-year association with Timothy Lyons. Jack Haley, Jr., was an IDA Trustee for many years, and was very generous and gracious with his time, emceeing many of the Oscars® receptions, IDA Galas and
Two years ago, radio artist Ira Glass observed, “Documentary is like soccer and world music: a phenomenon perpetually waiting to happen. People are always talking about how documentary is about to be ‘the next big thing.’” Maybe that's a good place to be, because in a sense, there will always be the faithful who await its imminent arrival. One of the best vehicles to usher in this impending documentary wave has been the Independent Television Service (ITVS), which this year celebrates 10 years of innovative and challenging programming for public television. Born from the foment of independent
Over the past seven years, Slamdance Film Festival has evolved from scruffy upstart, taking on Sundance, the eminence grise of Park City, with a DIY alternative in 1995, to a wiser, but still mischievous older brother, having spurred a bevy of alternaDances—Slumdance, NoDance, TromaDance, DigiDance, Slamdunk, et al—that have pitched their tents in the tony Utah resort town every January. And for Peter Baxter, Slamdance’s founder and artistic director, that’s just fine. “Generally speaking, we’re very supportive of any film festivals in Park City or anywhere, for that matter, that are
As the plane descended, I could see New York, Paris and Monte Carlo framed in the same window. It was Las Vegas—dazzling lights, towering skyscraper facades and, for one week, home to television’s foremost dealmakers. NATPE 2001 (held January 22-25), the largest television market in the United States, was holding court. Savvy television producers, new media pioneers and first-time exhibitors from all over the world converged on Vegas to pitch new television product, create co-production deals with the studios and majors, and attract television broadcasters to stylized kiosks to sell, sell
The IDA has been going through lots of changes and the positive manifestations are just beginning to emerge. The IDA party for the Oscar® nominees drew the biggest attendance ever; corporate sponsorships were also up. As a result, not only did we have a great time, but we made money on the event. All of this was due to the hard work of our new managing director, Melissa Disharoon; the event’s committee headed by Rick Trank and Ann Hassett; Lynne Littman, who put together the clips and script; and a whole host of other volunteers who made the evening sparkle. We have retained the firm of Double