Over the years many labs and funds have been established to help documentary filmmakers hone the necessary skills and provide access to the resources (money) to navigate the obstacles associated with bringing a film from idea to distribution.
Articles Tagged Documentary
A new look at prolific yet largely unknown British filmmaker Marc Karlin’s contribution to experimental film, including some of his most powerful works from the 1970s and ’80s and why they remain just as relevant today.
Now I Know is an ongoing series in which independent filmmakers share solutions to hurdles they’ve encountered while transforming an idea into an independent film. This includes all aspects of the transformation, including pre-production, production, post-production, and distribution. Here, filmmaker Reshel Shah Kapoor talks about what she learned about getting her work into festivals.
Filmmaker Søren Sørensen recounts what prompted him to explore the Vietnam War’s impacts on his father, other veterans, and us all.
Three decades have passed since David Schwartz’s exploration of the connection between subjective perspectives and objective truths in documentary filmmaking, yet this essay remains as relevant and informative as ever. Reproduced here, the article was originally published in May 1986 and is also available in The Independent‘s print archives. The filmmakers of tomorrow will express themselves in the… Read more »
Abatemarco, who spent nearly seven years making Kivalina, advises first time documentarians to recognize that some of the hardest work of making a film is not technical or financial, but interpersonal. “It’s about your relationship with your subjects over time. That is the real work and the real difficulty. Somehow you’ll find the money but the most difficult work is to carry the story for however long you have to carry it, because these are heavy subject matters.”
There was some judgment in some way by the choice of the locations. By the facts we wanted to stress in our narration. None of the locations were there just for fun, they should all tell something for those who want to read between the lines, so there is some criticism of mankind. But besides that it’s true, the audience is very much invited to basically see their own film.
De Pue was nervous about working with so many co-producers. “I was a bit afraid about it, I learned in school about it. When you have all these co-producers they bring in money but they also have their artistic choices and they can get involved at some point.
When De Pue returned by himself to Afghanistan, he realized he “had to rethink the way of filming and the way of working in Afghanistan, to go back to a really low profile way like we did in the preparations.”