Earlier this year, on a self-described “quixotic whim,” Oscar-winner Tilda Swinton rented an old Victorian ballroom named the Ballerina and set out to bring a film festival—complete with a quirky sense of imagination, beanbag chairs, and an unconventional lineup—to the seaside town of Nairn in the North East of Scotland.

Joost, Hulu and boxee – one thing is for sure, names like the American Broadcasting Company (aka ABC) are a thing of the past. Instead, the future of broadcasting is filled with silly-named companies that aim to overthrow your idea of television.

Film Festivals. Whether it’s Sundance or Cannes, or something more obscure, the phrase conjures images of red carpets, artsy auteurs, and late night parties… for fans. But to filmmakers, and the often-unpaid program coordinators, film festivals are linked to getting organized, getting seen, and selling either your film, or enough tickets to do it all again next year.

About this column: Many filmmakers ponder in anguish, How do other people—celebrated people—do it? Am I taking too long to make this documentary? Does everybody spend as much money as I am spending, or am I spending too little? And when filmmakers share their lessons learned in interviews in the glossy trade magazines, their tales seem to follow the arc of otherworldy heroes rather than real documentary makers, i.e. human beings like you and me. So each month, the Doc Doctor will go out into the world (this real world) of filmmakers who are successful and find out how they made it. The "Anatomy of a Film Column" is a chance to learn from filmmakers' hits and misses in real life examples. —Fernanda Rossi, story consultant a.k.a. the Documentary Doctor

With days left until the 2008 presidential election, images are flooding airwaves and video streams, vying for position as the lasting impression conjured just moments before pulling the lever.

Between polls, pundits, and analysts, predictions of the upcoming presidential election seem endless, with many agreeing this could be yet another tight race where, in certain states, every vote will count. And if you think that's just a cliché, think of this: in 2004, George W. Bush won by taking Ohio with 118,601 votes, or about 9 votes per precinct.

Long before filmmakers begin production, they face the daunting task of scraping together enough money to get their film off the ground. Choosing the right method of funding relies on many factors, including the type and subject of the film, and the experience behind the cast and crew involved in the project.

“Making a movie is like moving a mountain,” says Toddy Burton, the Austin-based filmmaker behind The Aviatrix, a film about a girl struggling with cancer who finds an escape from her troubles by becoming The Aviatrix, a superhero who rockets through outerspace.

The continued standstill between the Screen Actor’s Guild (SAG) and the Alliance of Motion Picture and Television Producers (AMPTP) to re-negotiate a new contract makes a strike look increasingly likely. The previous contract expired June 30, 2008.

It takes guts for a critic to venture into the medium they analyze, but acclaimed film critic and blogger, Matt Zoller Seitz did just that, releasing his first feature-length film Home in 2006.

About this column: Many filmmakers ponder in anguish, How do other people—celebrated people—do it? Am I taking too long to make this documentary? Does everybody spend as much money as I am spending, or am I spending too little? And when filmmakers share their lessons learned in interviews in the glossy trade magazines, their tales seem to follow the arc of otherworldy heroes rather than real documentary makers, i.e. human beings like you and me. So each month, the Doc Doctor will go out into the world (this real world) of filmmakers who are successful and find out how they made it. The "Anatomy of a Film Column" is a chance to learn from filmmakers' hits and misses in real life examples. —Fernanda Rossi, story consultant a.k.a. the Documentary Doctor