Here is a wrap-up of all the news you need to know from Wednesday, April 5, 2023.
The Big Door Prize has landed an early renewal at Apple TV+.
The news of the Season 2 pickup comes a week after its series premiere.
Starring an ensemble cast led by Chris O'Dowd, the 10-episode half-hour comedy is now streaming on Apple TV+, and new episodes of The Big Door Prize premiere weekly, every Wednesday.
"We are so grateful to the audiences around the world who have already embraced the weird little hopes and dreams of our Deerfield residents, and we could not be more excited about where we plan to take them in season two," said creator David West Read.
Showtime announced today it will air Ghosts of Beirut, a four-part spy drama based on one of the greatest espionage stories of modern times: the manhunt for Imad Mughniyeh, the elusive Lebanese terrorist who...
The Big Door Prize has landed an early renewal at Apple TV+.
The news of the Season 2 pickup comes a week after its series premiere.
Starring an ensemble cast led by Chris O'Dowd, the 10-episode half-hour comedy is now streaming on Apple TV+, and new episodes of The Big Door Prize premiere weekly, every Wednesday.
"We are so grateful to the audiences around the world who have already embraced the weird little hopes and dreams of our Deerfield residents, and we could not be more excited about where we plan to take them in season two," said creator David West Read.
Showtime announced today it will air Ghosts of Beirut, a four-part spy drama based on one of the greatest espionage stories of modern times: the manhunt for Imad Mughniyeh, the elusive Lebanese terrorist who...
- 4/5/2023
- by Paul Dailly
- TVfanatic
Showtime has announced its forthcoming spy drama, “Ghosts of Beirut,” will make its debut on Friday, May 19, on Showtime’s streaming site and will air on linear on May 21 at 10 p.m. Et/Pt.
The four-part limited series tells the origin story of 21-year old Mughniyeh (who is also referred to as “The Ghost”), an elusive Lebanese terrorist who evaded capture from the CIA and Mossad for two decades. He was responsible for more American deaths than any other individual prior to 9/11.
“Told from the American, Israeli and Lebanese perspectives, the series traces Mughniyeh’s origins from the Shiite slums of South Beirut to his masterminding of the concept of suicide bombers, a deadly tactic that led to his swift rise as the world’s most dangerous terrorist. Based on extensive research of still-classified events, the drama spans decades and weaves in first-hand, real-life interviews with prominent officials from the CIA and Mossad,...
The four-part limited series tells the origin story of 21-year old Mughniyeh (who is also referred to as “The Ghost”), an elusive Lebanese terrorist who evaded capture from the CIA and Mossad for two decades. He was responsible for more American deaths than any other individual prior to 9/11.
“Told from the American, Israeli and Lebanese perspectives, the series traces Mughniyeh’s origins from the Shiite slums of South Beirut to his masterminding of the concept of suicide bombers, a deadly tactic that led to his swift rise as the world’s most dangerous terrorist. Based on extensive research of still-classified events, the drama spans decades and weaves in first-hand, real-life interviews with prominent officials from the CIA and Mossad,...
- 4/5/2023
- by BreAnna Bell
- Variety Film + TV
Exclusive: Showtime has set Ghosts Of Beirut, a four-part spy drama based on the real-life espionage story of the manhunt for Imad Mughniyeh, the elusive Lebanese terrorist who outwitted his adversaries in the CIA and Mossad for over two decades. The limited series, from Fauda creators Avi Issacharoff and Lior Raz, features an international cast led by Dina Shihabi (Jack Ryan), Dermot Mulroney (My Best Friend’s Wedding), Garret Dillahunt (12 Years a Slave), Iddo Goldberg (Snowpiercer), Hisham Suleiman (Fauda), Amir Khoury (Image of Victory) and Rafi Gavron (A Star is Born).
Emmy winner Greg Barker (Manhunt: The Inside Story of the Hunt for Bin Laden), who directs all four episodes, and Daniel Dreifuss (All Quiet on the Western Front) executive produce Ghosts Of Beirut alongside Issacharoff and Raz. The series will debut on streaming and on demand May 19 for Showtime subscribers, before making its on-air debut on the network May 21.
Ghosts Of Beirut,...
Emmy winner Greg Barker (Manhunt: The Inside Story of the Hunt for Bin Laden), who directs all four episodes, and Daniel Dreifuss (All Quiet on the Western Front) executive produce Ghosts Of Beirut alongside Issacharoff and Raz. The series will debut on streaming and on demand May 19 for Showtime subscribers, before making its on-air debut on the network May 21.
Ghosts Of Beirut,...
- 4/5/2023
- by Nellie Andreeva
- Deadline Film + TV
Exclusive: Acclaimed documentary producer John Battsek, whose credits include Oscar-winner One Day In September and Emmy-winner Manhunt: The Inside Story Of The Hunt for Bin Laden, is making his first foray into podcasts with Audible series Deepcut.
The investigative six part non-fiction series will see Battsek and his new production company Ventureland tackle the complex and controversial cases of four deaths at the Deepcut army barracks in the UK.
The series will examine the deaths of the four young soldiers, found shot dead at the Princes Royal Barracks (Aka Deepcut) in Surrey, England between 1995 and 2002. As their families searched for answers, allegations of bullying, sexual abuse and violence begin to surface and suspicions mounted that evidence had been withheld or destroyed. The incidents led to lengthy legal contests.
Battsek’s team for the series includes investigative journalist Jane MacSorley and former detective chief inspector Colin Sutton who join forces to...
The investigative six part non-fiction series will see Battsek and his new production company Ventureland tackle the complex and controversial cases of four deaths at the Deepcut army barracks in the UK.
The series will examine the deaths of the four young soldiers, found shot dead at the Princes Royal Barracks (Aka Deepcut) in Surrey, England between 1995 and 2002. As their families searched for answers, allegations of bullying, sexual abuse and violence begin to surface and suspicions mounted that evidence had been withheld or destroyed. The incidents led to lengthy legal contests.
Battsek’s team for the series includes investigative journalist Jane MacSorley and former detective chief inspector Colin Sutton who join forces to...
- 5/20/2020
- by Andreas Wiseman
- Deadline Film + TV
Exclusive: Oscar-winning producer John Battsek (One Day In September) is exiting Passion Pictures after a stellar 20-year run to launch La and London-based company Ventureland with Kerstin Emhoff, Ali Brown, and director Paul Hunter of U.S. production and commercials firm Prettybird.
Ventureland will produce a range of content across the documentary and scripted spaces but will also work in branded content, technology, music and original IP.
Battsek and Emhoff have previously teamed up to produce Emmy-winning projects Manhunt: The Inside Story Of The Hunt For Bin Laden and The Tillman Story, as well as The Final Year, Sergio and Legion Of Brothers. The duo have worked together on-and-off for more than a decade and the majority of Passion’s U.S. productions have been based out of Prettybird’s La facilities.
Battsek co-founded Passion Pictures Films in 1999 with Andrew Ruhemann and won the company’s first Oscar with One Day In September,...
Ventureland will produce a range of content across the documentary and scripted spaces but will also work in branded content, technology, music and original IP.
Battsek and Emhoff have previously teamed up to produce Emmy-winning projects Manhunt: The Inside Story Of The Hunt For Bin Laden and The Tillman Story, as well as The Final Year, Sergio and Legion Of Brothers. The duo have worked together on-and-off for more than a decade and the majority of Passion’s U.S. productions have been based out of Prettybird’s La facilities.
Battsek co-founded Passion Pictures Films in 1999 with Andrew Ruhemann and won the company’s first Oscar with One Day In September,...
- 1/21/2020
- by Andreas Wiseman
- Deadline Film + TV
Sheila Nevins has announced she is stepping down from her role as president of HBO Documentary Films, a position she has held for the last 38 years. The 78-year-old has produced over 1,000 non-fiction films during her time at HBO, earning a record 32 Emmy Awards. Her projects have also earned 26 Oscars and 42 Peabody Awards. She was the recipient of the TV Academy’s lifetime achievement award in 2005.
Read More:Sheila Nevins’ 5 Rules for Getting Ahead in a Man’s World
“There’s something exciting about leaving a job,” Nevins told The New York Times about her departure. “I can’t explain it. I have deprived my life of a life. All I did was work. I was, like, born at HBO and I don’t have to die there. If I stayed any longer, I probably would have died at my desk. I just regret that there’s so little time left.
Read More:Sheila Nevins’ 5 Rules for Getting Ahead in a Man’s World
“There’s something exciting about leaving a job,” Nevins told The New York Times about her departure. “I can’t explain it. I have deprived my life of a life. All I did was work. I was, like, born at HBO and I don’t have to die there. If I stayed any longer, I probably would have died at my desk. I just regret that there’s so little time left.
- 12/16/2017
- by Zack Sharf
- Indiewire
Opening this edition’s Doc NYC on November 9th is Greg Barker’s The Final Year, a truly up-close-and-personal, behind-the-scenes look at the Obama administration and its foreign policy team during its last 12 months. To say that Barker gained unprecedented access to the president’s men (and one woman) during that period is an understatement. The veteran documentarian (Homegrown: The Counter-Terror Dilemma, Manhunt: The Inside Story of the Hunt for Bin Laden, etc.) managed to shadow three heavyweight insiders — Secretary of State John Kerry, Ambassador to the United Nations Samantha Power, and “Assistant to the President and Deputy National Security Advisor […]...
- 11/8/2017
- by Lauren Wissot
- Filmmaker Magazine - Blog
It’s hard, even impossible, not to get political when discussing “The Final Year,” the latest documentary from journalist filmmaker Greg Barker (“Manhunt: The Inside Story of the Hunt for Bin Laden“), which explores the tumultuous year of 2016 from the viewpoint of President Barack Obama and his foreign policy team. Through intimate access, personalized interviews and mostly sympathetic portrayals of select people inside the White House, Barker isn’t trying to be objective.
Continue reading ‘The Final Year’ Takes A Look Inside Obama’s Administration [Tiff Review] at The Playlist.
Continue reading ‘The Final Year’ Takes A Look Inside Obama’s Administration [Tiff Review] at The Playlist.
- 9/18/2017
- by Will Ashton
- The Playlist
The race always begins at Sundance, but the Toronto International Film Festival documentary lineup will impact the list of Oscar contenders — and this year, without clear frontrunners, Tiff’s influence will be greater than ever.
Every year, Thom Powers leads the Tiff documentary programmers through an enormous number of submissions to cull 22 selections. “It never gets any easier to make those decisions,” said Powers, who also programs influential November festival Doc NYC. “This year we’re going to see a greater range of different documentaries spread across the fall festivals, instead of a cluster of films that moves from festival to festival. More films will get more opportunities at the festivals this fall.”
Here’s a list of 10 must-sees for Tiff 2017 with potential to shake up the awards race.
1. “Super Size Me 2: Holy Chicken!”: Morgan Spurlock’s under-the-radar sequel to his 2005 Oscar nominee focuses on the new craze...
Every year, Thom Powers leads the Tiff documentary programmers through an enormous number of submissions to cull 22 selections. “It never gets any easier to make those decisions,” said Powers, who also programs influential November festival Doc NYC. “This year we’re going to see a greater range of different documentaries spread across the fall festivals, instead of a cluster of films that moves from festival to festival. More films will get more opportunities at the festivals this fall.”
Here’s a list of 10 must-sees for Tiff 2017 with potential to shake up the awards race.
1. “Super Size Me 2: Holy Chicken!”: Morgan Spurlock’s under-the-radar sequel to his 2005 Oscar nominee focuses on the new craze...
- 8/1/2017
- by Anne Thompson
- Thompson on Hollywood
The race always begins at Sundance, but the Toronto International Film Festival documentary lineup will impact the list of Oscar contenders — and this year, without clear frontrunners, Tiff’s influence will be greater than ever.
Every year, Thom Powers leads the Tiff documentary programmers through an enormous number of submissions to cull 22 selections. “It never gets any easier to make those decisions,” said Powers, who also programs influential November festival Doc NYC. “This year we’re going to see a greater range of different documentaries spread across the fall festivals, instead of a cluster of films that moves from festival to festival. More films will get more opportunities at the festivals this fall.”
Here’s a list of 10 must-sees for Tiff 2017 with potential to shake up the awards race.
1. “Super Size Me 2: Holy Chicken!”: Morgan Spurlock’s under-the-radar sequel to his 2005 Oscar nominee focuses on the new craze...
Every year, Thom Powers leads the Tiff documentary programmers through an enormous number of submissions to cull 22 selections. “It never gets any easier to make those decisions,” said Powers, who also programs influential November festival Doc NYC. “This year we’re going to see a greater range of different documentaries spread across the fall festivals, instead of a cluster of films that moves from festival to festival. More films will get more opportunities at the festivals this fall.”
Here’s a list of 10 must-sees for Tiff 2017 with potential to shake up the awards race.
1. “Super Size Me 2: Holy Chicken!”: Morgan Spurlock’s under-the-radar sequel to his 2005 Oscar nominee focuses on the new craze...
- 8/1/2017
- by Anne Thompson
- Indiewire
One of the most prolific documentary producers around, Julie Goldman, takes the main stage this afternoon at Ifp’s Screen Forward conference to talk about the evolving practice of non-fiction production. With producing credits going back to 1997, Goldman has produced or executive produced such notable films as Buck, Beware of Mr. Baker, 1971 , Best of Enemies and Manhunt: The Search for Bin Laden. She’s currently producing through her production company, Motto, which has allowed her to increase the quantity of her production, just one of several topics she discusses below. Filmmaker: Your producing credits go back to 1997, yet […]...
- 9/22/2015
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
One of the most prolific documentary producers around, Julie Goldman, takes the main stage this afternoon at Ifp’s Screen Forward conference to talk about the evolving practice of non-fiction production. With producing credits going back to 1997, Goldman has produced or executive produced such notable films as Buck, Beware of Mr. Baker, 1971 , Best of Enemies and Manhunt: The Search for Bin Laden. She’s currently producing through her production company, Motto, which has allowed her to increase the quantity of her production, just one of several topics she discusses below. Filmmaker: Your producing credits go back to 1997, yet […]...
- 9/22/2015
- by Scott Macaulay
- Filmmaker Magazine - Blog
A trailer for Manhunt director Greg Barker's new documentary The Thread has been unveiled.
The Thread examines the role that social media played in the aftermath of the 2013 Boston Marathon bombing.
Both accurate and false details about the perpetrators of the terrorist attack were widely disseminated on social media while police conducted a state-wide search.
Barker has interviewed prominent journalists from major media outlets about how social media impacted their own reporting of the news story.
The Thread will be released in the USA, UK, Ireland and Australia on April 13 through digital platforms including iTunes.
Barker's exploration of the CIA's efforts to capture Osama bin Laden in Manhunt won a Primetime Emmy Award for Outstanding Documentary.
He has more recently helmed We Are the Giant, a film about people whose lives were transformed by single decisions to stand up for their beliefs.
The Thread examines the role that social media played in the aftermath of the 2013 Boston Marathon bombing.
Both accurate and false details about the perpetrators of the terrorist attack were widely disseminated on social media while police conducted a state-wide search.
Barker has interviewed prominent journalists from major media outlets about how social media impacted their own reporting of the news story.
The Thread will be released in the USA, UK, Ireland and Australia on April 13 through digital platforms including iTunes.
Barker's exploration of the CIA's efforts to capture Osama bin Laden in Manhunt won a Primetime Emmy Award for Outstanding Documentary.
He has more recently helmed We Are the Giant, a film about people whose lives were transformed by single decisions to stand up for their beliefs.
- 3/19/2015
- Digital Spy
I know that the Sundance Film Festival ended over a week ago, but in the six days I was at Sundance (and on screeners in the days before), I saw 25 movies. I wrote full reviews for 13 of them. My Full Sundance reviews: 'The Internet's Own Boy: The Story of Aaron Swartz' "The Overnighters" "Rudderless" "Fed Up" "Marmato" "Love Child" "Land Ho!" "The Voices" "Happy Valley" "My Prairie Home" "Life Itself" "Mitt" "Web Junkie" But that left 12 movies that I just didn't have the time to write my usual 1000-to-1750 words on. Since getting back from Park City, I've been slowly working my way through capsule reviews for those 12 movies. These are roughly the length of my Take Me To The Pilots entries, which means that in this format, people are going to complain about all of the text and the lack of paragraphs. Sorry. Because I'm just one part of HitFix's awesome Sundance team,...
- 2/5/2014
- by Daniel Fienberg
- Hitfix
The clarion call of a grander moral calling anchors the documentary We Are the Giant, and in large part saves it from its own overstuffed passion. Profiling a handful of activists involved in Arab Spring uprisings in Libya, Syria and Bahrain, the film mixes unsettling firsthand protest footage with involving stories of self-sacrifice. Director Greg Barker (the Emmy-winning Manhunt) overdoes things a bit with composer Philip Sheppard’s brawny score and a slick technical package that, paradoxically, provides little in the way of relevant current sociopolitical grounding but lots of distracting quotations from historical figures and other textual interludes. Still, the...
- 2/4/2014
- Pastemagazine.com
Kevin Macdonald, Marcel Ophuls, Fred Wiseman and Claude Lanzmann are among the top directors attending the 26th International Documentary Festival Amsterdam (Idfa) (Nov 20 - Dec 1).The festival opens this evening (Nov 20) with the world premiere of Talal Derki’s Return To Homs, a feature doc that centres on young revolutionaries in Western Syria. The film, being talked up by festival insiders as a potential Oscar contender, was co-financed by Idfa through the Idfa B
Kevin Macdonald, Marcel Ophuls, Fred Wiseman and Claude Lanzmann are among the top directors attending the 26th International Documentary Festival Amsterdam (Idfa) (Nov 20 - Dec 1).
The festival opens this evening (Nov 20) with the world premiere of Talal Derki’s Return To Homs, a feature doc that centres on young revolutionaries in Western Syria. The film, being talked up by festival insiders as a potential Oscar contender, was co-financed by Idfa through the Idfa Bertha Fund.
Before the film, Idfa’s Living...
Kevin Macdonald, Marcel Ophuls, Fred Wiseman and Claude Lanzmann are among the top directors attending the 26th International Documentary Festival Amsterdam (Idfa) (Nov 20 - Dec 1).
The festival opens this evening (Nov 20) with the world premiere of Talal Derki’s Return To Homs, a feature doc that centres on young revolutionaries in Western Syria. The film, being talked up by festival insiders as a potential Oscar contender, was co-financed by Idfa through the Idfa Bertha Fund.
Before the film, Idfa’s Living...
- 11/20/2013
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
A week before the 65th annual Primetime Emmy Awards rock the entertainment industry, nearly 80 awards were scheduled to be presented at the Creative Arts Emmys ceremony Sunday (Sept. 15) at the Nokia Theatre. Fxx will air an edited version of the Creative Arts Emmys ceremony on Sept. 21 at 9 p.m. Et.
HBO's "Behind the Candelabra" unsurprisingly took home a number of awards, while Bob Newhart won his first career Emmy for guest-starring on CBS' "The Big Bang Theory."
Here is the full list of winners:
Outstanding Guest Actress In A Drama Series - 2013: Carrie Preston, as Elsbeth Tascioni on "The Good Wife"
Outstanding Guest Actor In A Drama Series - 2013: Dan Bucatinsky, as James Novack on "Scandal"
Outstanding Guest Actress In A Comedy Series - 2013: Melissa Leo, as Laurie on "Louie"
Outstanding Guest Actor In A Comedy Series - 2013: Bob Newhart, as Arthur Jeffries/Professor Proton...
HBO's "Behind the Candelabra" unsurprisingly took home a number of awards, while Bob Newhart won his first career Emmy for guest-starring on CBS' "The Big Bang Theory."
Here is the full list of winners:
Outstanding Guest Actress In A Drama Series - 2013: Carrie Preston, as Elsbeth Tascioni on "The Good Wife"
Outstanding Guest Actor In A Drama Series - 2013: Dan Bucatinsky, as James Novack on "Scandal"
Outstanding Guest Actress In A Comedy Series - 2013: Melissa Leo, as Laurie on "Louie"
Outstanding Guest Actor In A Comedy Series - 2013: Bob Newhart, as Arthur Jeffries/Professor Proton...
- 9/16/2013
- by editorial@zap2it.com
- Zap2It - From Inside the Box
This morning at London's Odeon Leicester Square, the British Film Institute announced the full programme for the 57th BFI London Film Festival, a twelve-day extravaganza showcasing the very best in upcoming mainstream, world and experimental cinema. With British director Paul Greengrass' hijack thriller Captain Phillips and Disney's Saving Mr. Banks (both starring Tom Hanks) already announced as the opening and closing films, the stage was set for a whole raft of high profile Gala screenings and premieres, including the cream of 2013's international festival crop. Amongst these will be Alfonso Cuarón's Gravity, Steve McQueen's Twelve Years a Slave and the Coens' Inside Llewyn Davis.
This year's Lff will screen a total of 234 narrative and documentary features, including 22 World Premieres, 16 International Premieres, 29 European Premieres and 20 Archive films. A stellar line-up of directors, cast and crew are also expected to take part in career interviews, master classes and other special events.
This year's Lff will screen a total of 234 narrative and documentary features, including 22 World Premieres, 16 International Premieres, 29 European Premieres and 20 Archive films. A stellar line-up of directors, cast and crew are also expected to take part in career interviews, master classes and other special events.
- 9/4/2013
- by CineVue UK
- CineVue
The 57th BFI London Film Festival line-up has officially been revealed, and it is led by a slew of incredibly promising films, many of which have already been buzzing on the festival circuit, and a number of which will be making their debuts here in London.
As previously announced, Paul Greengrass’ Captain Phillips will open the festival next month, and John Lee Hancock’s Saving Mr. Banks will close it, book-ending the festival with Tom Hanks leading two highly prominent, Oscar-primed movies.
Stephen Frears’ Philomena was also previously announced as the Lff American Express Gala, with The Epic of Everest announced as the Lff Archive Gala.
And leading the line-up alongside them this year will be some of the most Oscar-buzzed movies of 2013, including Steve McQueen’s 12 Years a Slave, Jason Reitman’s Labor Day, Alfonso Cuarón’s Gravity (in 3D), Joel and Ethan Coen’s Inside Llewyn Davis, Terry Gilliam’s The Zero Theorem,...
As previously announced, Paul Greengrass’ Captain Phillips will open the festival next month, and John Lee Hancock’s Saving Mr. Banks will close it, book-ending the festival with Tom Hanks leading two highly prominent, Oscar-primed movies.
Stephen Frears’ Philomena was also previously announced as the Lff American Express Gala, with The Epic of Everest announced as the Lff Archive Gala.
And leading the line-up alongside them this year will be some of the most Oscar-buzzed movies of 2013, including Steve McQueen’s 12 Years a Slave, Jason Reitman’s Labor Day, Alfonso Cuarón’s Gravity (in 3D), Joel and Ethan Coen’s Inside Llewyn Davis, Terry Gilliam’s The Zero Theorem,...
- 9/4/2013
- by Kenji Lloyd
- HeyUGuys.co.uk
Title: Manhunt: The Inside Story of the Hunt for Osama bin Laden Director: Greg Barker The story at the core of this curiously directed and somewhat misleadingly titled documentary — an adaptation of Peter Bergen’s excellent, bestselling book — is an innately fascinating one. Unfortunately, as either a primer on America’s terrorist takedown infrastructure or a megaphone for the insights of the (many female) analysts who helped untangle the ambiguity of information in aid of that cause, director Greg Barker’s messy “Manhunt: The Inside Story of the Hunt for Osama bin Laden,” premiering May 1 on HBO, doesn’t forcefully connect, and as such remains a frustrating viewing experience. The story of the Alec Station [ Read More ]
The post Manhunt: The Inside Story of the Hunt for Osama bin Laden Movie Review appeared first on Shockya.com.
The post Manhunt: The Inside Story of the Hunt for Osama bin Laden Movie Review appeared first on Shockya.com.
- 4/29/2013
- by bsimon
- ShockYa
Sundance and Tribeca festivals showcase a stunning crop of films, focusing on Afghanistan, killer whales and more
It may count as the least likely of cinematic comebacks since Mickey Rourke bleached his hair and started self-tanning for The Wrestler. A new wave of documentaries are ensuring a return to cinema screens of something long thought lost to our era of spandex-wearing superheroes and CGI fireballs: reality.
Marvelling at "the explosion – and creative flowering – of this most commercially unsexy of genres" at the Tribeca film festival last week, New York magazine's David Edelstein wrote:
In this age of digital video – in which there are cheap cameras, editing software and funding to be had … the cool kids are making docs. The form is not just good for you these days. It's incredibly sexy.
At Sundance this year at least four titles – Pussy Riot, The Summit, Stardom and Blackfish – sold for more than $1m.
It may count as the least likely of cinematic comebacks since Mickey Rourke bleached his hair and started self-tanning for The Wrestler. A new wave of documentaries are ensuring a return to cinema screens of something long thought lost to our era of spandex-wearing superheroes and CGI fireballs: reality.
Marvelling at "the explosion – and creative flowering – of this most commercially unsexy of genres" at the Tribeca film festival last week, New York magazine's David Edelstein wrote:
In this age of digital video – in which there are cheap cameras, editing software and funding to be had … the cool kids are making docs. The form is not just good for you these days. It's incredibly sexy.
At Sundance this year at least four titles – Pussy Riot, The Summit, Stardom and Blackfish – sold for more than $1m.
- 4/23/2013
- by Tom Shone
- The Guardian - Film News
Thom Powers is a friend of ours in the business and amazes us by his acumen, generosity, range of activities and devotion to what many of us consider the most frequently relevant, creative and earth changing form of feature length cinema - the documentary. I came upon this fascinating dialogue on his website (link below) where he ruminated most eloquently about what actually went on at Sundance business wise with documentaries. Fascinating. Please check out his 'Stranger Than Fiction' website which is of great value to any filmmaker wanting clarity on the business of documentary film. Two fascinating reports (for example) listed on the site among others were these two - Guide to Documentary Buyers at Tiff and Guide to Documentary Sales Agents at Tiff. Every docu filmmaker should start here. Thom Powers has been an International Documentary Programmer for the Toronto International Film Festival® since 2006. He is also responsible for Mavericks, the Festival’s discussion series with cinema innovators. Powers is the Artistic Director for the weekly documentary series, “Stranger than Fiction” at Manhattan’s IFC Center and for the Doc NYC festival in November. He also consults on programming for the Miami International Film Festival. He has directed documentaries for HBO and PBS; and is a founding member of the documentary production company Sugar Pictures. He teaches documentary courses at New York University’s School of Continuing Professional Studies and the School of Visual Arts. He is a co-founder of the Cinema Eye Honors, an annual award for documentary excellence; and the Garrrett Scott Development Grant. He has served as a juror for Sundance, SXSW, Cph: Dox and DocAviv festivals; as well as the Emmy, Ida and Independent Spirit Awards. He has written extensively on documentary filmmaking for The Boston Globe, Real Screen, and Filmmaker Magazine. Stranger than Fiction Exclusive documentary film screenings, hosted by Raphaela Neihausen and Thom Powers. Winter Season: Jan 8 - Feb 26, 2013 IFC Center 323 Sixth Ave. @ West Third St.
A Conversation With Thom Powers on the Sundance Film Festival
by Rahul Chadha | Sunday, February 3rd, 2013
For most people on the indie film circuit, the Sundance Film Festival marks the start of the new year. Park City is where filmmakers go to earn buzz for their projects, get some press and maybe even ink a distribution deal. On Jan. 30 I spoke with Thom Powers about the documentary films at Sundance that garnered the most chatter and the biggest checks, among other subjects.
[Q&A has been edited for content and clarity]
Rahul Chadha: It seemed like so much of the press attention around Sundance was focused on sales. The Hollywood Reporter said that four docs sold for at least seven figures and I read a report that Blackfish elicited a bidding war from four or five distributors. Did you get the sense that sales were better this year, and if so, why do you think that was?
Thom Powers: Some of those figures are slightly inflated. I know at least one of those films that is being reported as a million dollar sale is a little under a million dollars. But the fact remains that there were some very strong doc sales, and notably the emergence of a new player in The Weinstein Company’s RADiUS brand run by Tom Quinn and Jason Janego. Tom previously worked for Magnolia, where he worked on several successful docs such as Food Inc. and Man On Wire. Months ago RADiUS announced involvement in the new Errol Morris film about Donald Rumsfeld, The Unknown Known, due out later this year. Tom told me they would be very selective about docs which left me unprepared for their recent buying streak. Their first Sundance acquisition was the opening night title 20 Feet From Stardom, set in the music industry that gives it a solid commercial hook. Then RADiUS acquired Inequality For All, which struck me as less obvious. But if you imagine it following in the footsteps of An Inconvenient Truth you can see the commercial appeal. Then they announced Cutie And The Boxer, which has no celebrity connection and on the surface feels less obviously commercial, although it had strong word of mouth. So it seems RADiUS is trying out a wide range of docs and it’s good for the industry to have a new player in the mix. In addition to their strong showing, there was notable acquisitions by mainstay distributors including Sundance Selects, which bought Dirty Wars and The Summit, and Magnolia Pictures, which bought Blackfish.
Chadha: It seemed like Submarine had a strong presence this year.
Powers: For years Submarine–run by Josh Braun and his brother Dan–has been the dominant doc sales agent making the biggest doc deals at both Sundance and Toronto. There are certainly other big sales agents, including Cinetic and big agencies like Wme, CAA, UTA, or ICM taking on the occasional doc. But no one carries as big a slate of high prestige documentaries as Submarine. This year their lineup included 20 Feet From Stardom, Blackfish, The Summit, Dirty Wars and Cutie And The Boxer, all of which were high-profile deals. Their slate includes other films that have yet to announce deals, including God Loves Uganda, Muscle Shoals, Who Is Dayani Cristal? and Citizen Koch.
Chadha: Do you think this underscores that filmmakers really do need a sales agent at a festival the level of Sundance?
Powers: I think for a film that has real theatrical potential a sales agent is key. For a film that may find it tougher in the American marketplace, such as many of the docs in the world competition that may not be competing for deals – any subtitled film has a harder time in this marketplace – for those films I don’t know that a sales agent necessarily helps for the kinds of smaller deals that may or may not be offered.
Chadha: Do you think that as digital becomes an increasingly important distribution channel that festivals will take on a new importance?
Powers: I do. In an old model, the way a film would imprint itself on the public’s consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it’s harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren’t hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
Chadha: There were a few films at Sundance that dealt with the legacy of 9/11. You mentioned Dirty Wars but there was The World According To Dick Cheney and Which Way Is The Front Line From Here? The Life And Time Of Tim Hetherington and We Steal Secrets: The Story Of Wikileaks.
Powers: Yes that thematic cluster absolutely stood out. The legacy of 9/11 and the response to it through wars in Afghanistan and Iraq, as well as other kinds of counter-terrorism actions played out in other countries, remains a key subject for documentary makers to grapple with. I think the distance of 12 years from 9/11 gives us time to reflect. In the film Manhunt about the hunt for Osama bin Laden, there’s a clear connection. The World According To Dick Cheney is about the chief architect of post-9/11 counter-terrorism actions. It came in for criticism that the filmmakers weren’t hard enough on Dick Cheney, weren’t asking tough enough questions. And while I shared some of those frustrations, I certainly learned a lot about Cheney’s career from watching it.
Chadha: Anthony Kaufman recently wrote a piece that singled out Dirty Wars and the Alex Gibney film We Steal Secrets: The Story Of Wikileaks as two films that he thought might presage a wave of films by left-leaning filmmakers that are critical of Obama and his policies? Do you agree with that assessment or see a similar trend?
Powers: It’s a smart observation. Dirty Wars – which is one of the films I was most impressed by at Sundance – takes a long view of American foreign policy after 9/11 in the hands of the journalist at the center of that film, Jeremy Scahill, who’s best known for his book on Blackwater, and who now has a new book coming out that ties into this film. Alex Gibney’s Wikileaksfilm looks at the harsh response of the Obama administration to Bradley Manning, the U.S. soldier who had leaked the headline grabbing documents to Wikileaks. Those two films make an interesting contrast to documentaries of the past decade which comfortably coincided with a liberal critique of the Bush administration. I’m thinking of docs like Farhenheit 9/11 or No End In Sight that liberals rallied behind to point a finger at their political opponents. These new films force a more uncomfortable confrontation with an administration that those same liberals helped get elected.
Chadha: You previously mentioned to me that you thought that filmmakers screening unfinished films at Sundance were taking a risk. Why is that?
Powers: For some reason at Sundance, more than other festivals that I’m aware of, you find filmmakers rushing to screen works that sometimes aren’t completed. In my seven years of programming at Toronto, I’m not aware of any documentaries that went back for serious editing after their premiere – other than those presented as works-in-progress. But at Sundance every year there seems to be a few films that push the deadline so hard that they get taken back to the edit room afterwards. A notable example a couple of years ago was The Interrupters which played at Sundance in a version close to three hours before getting re-edited and having nearly an hour of material taken out of it. The question is, how much does that hurt a film, to have its first presentation before critics and industry be a version of itself that’s not the best. You can point to The Interrupters as a positive example. A lot of people, myself included, appreciated the long version of that film, and it didn’t diminish our interest at all. A fresh example this year was The Square, Jehane Noujaim’s film about the last two years of protest in Egypt around Tahrir Square. In this case the film arrived without any credits on it and Jehane told audiences that she was going back into the edit room. Normally that would sound to me like a challenging strategy. However, The Square came away from Sundance with an audience award. There’s clearly a power to that film, and a power that touched me watching that film, that transcended any rough edges that it contained. So I’ve just given two examples of films that made it work for them. I wouldn’t want to call out films where I think that strategy has not worked. But there certainly are cases and I’d strongly caution filmmakers not to assume that they’ll be the happy exceptions if they’re rushing their films for a festival deadline.
Chadha: There was a lot of talk this year about how well-represented women were on the doc side. I was wondering why you think this difference exists between the doc side and the fictional narrative side, where women still are underrepresented?
Powers: You can start a documentary with just a camera, as opposed to a fiction film where you need actors, a crew, a script, a lot more start-up resources. It may be self-perpetuating. Because there have been more prominent female doc makers, dating back to Barbara Kopple winning an Academy Award in the mid-70s, they’ve become role models for other women.
Chadha: What lost opportunities do you think filmmakers are struggling through at Sundance in terms of self-promotion? I know you’re a big proponent of filmmakers using Twitter.
Powers: I continue to be surprised by filmmakers who spend thousands of dollars on a publicist, but don’t take more advantage of social media which isfree. The Sundance docs that I saw making strong use of Twitter were Sound City which had 20,000 followers at the end of the festival; and 99% – The Occupy Wall Street Collaborative Film which had 15,000 followers. Then there’s a sharp drop-off. Films such as After Tiller, Dirty Wars and American Promise had around 1,500 followers each – they are getting off to a good start. Whenever possible, filmmakers need to begin their Twitter strategy well before their first festival in order to accumulate followers who can spread what’s happening at the festival.
Chadha: Which film were you most surprised by, and why?
Powers: It’s a reality of film festivals that you can’t see everything. You’re dividing your time between seeing films and utilizing that unique space to have meetings with people that you can’t otherwise. There were around 40 docs at Sundance and I’ve now seen roughly half. I think the film Blood Brother that won the audience prize and the jury prize took a lot of people by surprise because there was hardly any chatter about it in the corridors where press and industry exchange tips. It shows you that in a big festival, things can always surprise you.
I think certain filmmakers going into Sundance or other big festivals should consider screening more for press and tastemakers before the festival. The traditional wisdom has always been the opposite: to not screen for anyone prior, let your film be seen by an audience, and generate the buzz from there. That works for a film like Supersize Me – where the description made people put it on their priority list. But for a film that doesn’t have an obvious hook – including a lot of the films in the world documentary competition – those filmmakers might be better served trying to strategically screen for certain press and tastemakers so they can enter the festival with people already talking about them.
Chadha: Are there any films that are now on your “can’t miss” list?
Powers: Some of my favorite Sundance titles I’ve programmed for the Miami International Film Festival, which just announced its line-up last week. They include 20 Feet From Stardom, Blackfish, Gideon’S Army, The Crash Reel, Valentine Road, Which Way To The Front Line From Here? and Who Is Dayani Cristal?. There were many other strong films at Sundance that I look forward to showing at the Montclair Film Festival and Stranger Than Fiction. The Square I admire a lot. Muscle Shoals really took me by surprise. It played late in the festival and didn’t gain as much buzz as I thought it deserved. The director, who I believe is a first time director, made all kinds of smart creative decisions. Another film that went under the radar but made a big impression on me was The Stuart Hall Project about the U.K.-based black intellectual Stuart Hall. The film is wholly constructed out of archival sources, primarily from the BBC.
Chadha: What were the lessons about funding that came out of Sundance?
Powers: Sundance is a good survey of how docs are getting funded. This year reflects the important influence of Kickstarter. Recently Kickstarter introduced a tag for its projects that have a Sundance affiliation, and skimming that list I was impressed to see that Inequality For All had raised $83,000 and American Promise had raised $50,000 on Kickstarter. Other documentaries raised more modest sums. What’ so significant about Kickstarter is that those filmmakers did not need to wait around for a grant application committee to give them a green light. They could take matters into their own hands. Other funding players who were prominent are the Sundance Institute, the Tribeca Institute and the Ford Foundation which last year announced a $50 million commitment through the Just Films program. That Ford initiative supported projects like Gideon’S Army, Valentine Road, American Promise, Who Is Dayani Cristal?, God Loves Uganda and Citizen Koch.
Another important player is the equity group Impact Partners, who for several years have had a strong showing of their catalog at Sundance. This year their involvement included American Promise, The Crash Reel, Who Is Dayani Cristal? and Pandora’S Promise. The last group that I would mention is Cinereach, who were the heroes of Sundance last year for their funding of Beasts Of The Southern Wild, and who were back this year with four docs: Cutie And The Boxer, Citizen Koch, God Loves Uganda, and Narco Cultura.
When you look at the kinds of films that are showing up at Sundance, you see the names of some key producers re-occurring. This year the producer Julie Goldman, whose recent Sundance titles include Buck was back with three projects – Gideon’S Army, Manhunt and God Loves Uganda. The producer John Battsek from the U.K. who last year came with Searching For Sugar Man, was back this year with The Summit and Manhunt. And Jess Search, also based in the U.K., who is the founder of Britdoc and the Good Pitch had her name attached to the films Dirty Wars and Who Is Dayani Cristal? Clearly those producers and others like them have a good eye for spotting what makes a strong documentary in development. Those producers perform a variety of roles for filmmakers, whether it’s connecting them to financial support or supplying editorial perspective or connecting them to the other kind of industry players who can take a project further.
Chadha: Going back to Kickstarter for a minute, do you think films that have success on Kickstarter have the added benefit of showing to grantmaking institutions that their films are viable and that there’s an audience for them?
Powers: Absolutely. One bit of industry news this past week was that the HotDocs Forum, which has been a key place for documentaries to raise money, mainly in the broadcast world, announced that they will now accept projects on the basis of a certain amount of funds raised on Kickstarter. It used to be that you had to demonstrate a portion of your budget, like a quarter, was already being supported by a broadcaster or other traditional grantmaking institution. This change in policy signals the way in which Kickstarter funding is being taken more seriously.
In the case of The Square, the producers launched a Kickstarter campaign at Sundance to help finish their film. That seems like a very smart strategy for other filmmakers to consider. When you’re at a film festival, you have a rapt and enthused audience and if you can point them to a Kickstarter campaign, that’s a great way to leverage that enthusiasm. Even if you don’t need finishing funds, it’s a way to get outreach funds. I also saw the team from The Square selling t-shirts. After one screening they came away with few hundred dollars of cash in hand, which can help defray costs of attending a festival. These are strategies that filmmakers like Gary Hustwit have long practiced, emulating the way rock musicians sell t-shirts and posters at live performances. The film community has been slow to catch on. Maybe filmmakers are so busy getting their films made that they don’t have time to think about merchandise. But every bit of revenue helps.
Chadha: Any final thoughts?
Powers: We’ve talked about theatrical and digital distribution and new trends in crowdfunding. But it has to be said that the most long-standing and reliable place for documentary makers to get money is the broadcast world. HBO, which usually has a strong presence at Sundance, had the most overwhelming presence that I can remember, coming with six feature length documentaries. Plus during Sundance HBO bought Pussy Riot-a Punk Prayer. When you consider that HBO also has the film that was the 2012 winner at Idfa, Alan Berliner’s First Cousin Once Removed, and had two films at the Toronto festival – Mea Maxima Culpa by Alex Gibney and First Comes Love by Nina Davenport – that’s an impressive slate of films. There was news generated by other broadcasters getting active in the documentary field, including Showtime, which came with The World According To Dick Cheney. Just before Sundane, The New York Times reported about Showtime’s announcement of several documentaries in progress, including a film about Richard Pryor by Marina Zenovich, who made the Roman Polanski film, that I am personally looking forward to. In addition, CNN made an announcement during Sundance about a slate of feature-length docs, including a film by Alex Gibney. Another major player in that realm is A&E IndieFilms, which didn’t have any films in Sundance this year, but they’re already attached to Errol Morris’s Donald Rumsfeld documentary coming out later this year. All in all, the year is off to a good start.
Link to the original article here...
A Conversation With Thom Powers on the Sundance Film Festival
by Rahul Chadha | Sunday, February 3rd, 2013
For most people on the indie film circuit, the Sundance Film Festival marks the start of the new year. Park City is where filmmakers go to earn buzz for their projects, get some press and maybe even ink a distribution deal. On Jan. 30 I spoke with Thom Powers about the documentary films at Sundance that garnered the most chatter and the biggest checks, among other subjects.
[Q&A has been edited for content and clarity]
Rahul Chadha: It seemed like so much of the press attention around Sundance was focused on sales. The Hollywood Reporter said that four docs sold for at least seven figures and I read a report that Blackfish elicited a bidding war from four or five distributors. Did you get the sense that sales were better this year, and if so, why do you think that was?
Thom Powers: Some of those figures are slightly inflated. I know at least one of those films that is being reported as a million dollar sale is a little under a million dollars. But the fact remains that there were some very strong doc sales, and notably the emergence of a new player in The Weinstein Company’s RADiUS brand run by Tom Quinn and Jason Janego. Tom previously worked for Magnolia, where he worked on several successful docs such as Food Inc. and Man On Wire. Months ago RADiUS announced involvement in the new Errol Morris film about Donald Rumsfeld, The Unknown Known, due out later this year. Tom told me they would be very selective about docs which left me unprepared for their recent buying streak. Their first Sundance acquisition was the opening night title 20 Feet From Stardom, set in the music industry that gives it a solid commercial hook. Then RADiUS acquired Inequality For All, which struck me as less obvious. But if you imagine it following in the footsteps of An Inconvenient Truth you can see the commercial appeal. Then they announced Cutie And The Boxer, which has no celebrity connection and on the surface feels less obviously commercial, although it had strong word of mouth. So it seems RADiUS is trying out a wide range of docs and it’s good for the industry to have a new player in the mix. In addition to their strong showing, there was notable acquisitions by mainstay distributors including Sundance Selects, which bought Dirty Wars and The Summit, and Magnolia Pictures, which bought Blackfish.
Chadha: It seemed like Submarine had a strong presence this year.
Powers: For years Submarine–run by Josh Braun and his brother Dan–has been the dominant doc sales agent making the biggest doc deals at both Sundance and Toronto. There are certainly other big sales agents, including Cinetic and big agencies like Wme, CAA, UTA, or ICM taking on the occasional doc. But no one carries as big a slate of high prestige documentaries as Submarine. This year their lineup included 20 Feet From Stardom, Blackfish, The Summit, Dirty Wars and Cutie And The Boxer, all of which were high-profile deals. Their slate includes other films that have yet to announce deals, including God Loves Uganda, Muscle Shoals, Who Is Dayani Cristal? and Citizen Koch.
Chadha: Do you think this underscores that filmmakers really do need a sales agent at a festival the level of Sundance?
Powers: I think for a film that has real theatrical potential a sales agent is key. For a film that may find it tougher in the American marketplace, such as many of the docs in the world competition that may not be competing for deals – any subtitled film has a harder time in this marketplace – for those films I don’t know that a sales agent necessarily helps for the kinds of smaller deals that may or may not be offered.
Chadha: Do you think that as digital becomes an increasingly important distribution channel that festivals will take on a new importance?
Powers: I do. In an old model, the way a film would imprint itself on the public’s consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it’s harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren’t hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
Chadha: There were a few films at Sundance that dealt with the legacy of 9/11. You mentioned Dirty Wars but there was The World According To Dick Cheney and Which Way Is The Front Line From Here? The Life And Time Of Tim Hetherington and We Steal Secrets: The Story Of Wikileaks.
Powers: Yes that thematic cluster absolutely stood out. The legacy of 9/11 and the response to it through wars in Afghanistan and Iraq, as well as other kinds of counter-terrorism actions played out in other countries, remains a key subject for documentary makers to grapple with. I think the distance of 12 years from 9/11 gives us time to reflect. In the film Manhunt about the hunt for Osama bin Laden, there’s a clear connection. The World According To Dick Cheney is about the chief architect of post-9/11 counter-terrorism actions. It came in for criticism that the filmmakers weren’t hard enough on Dick Cheney, weren’t asking tough enough questions. And while I shared some of those frustrations, I certainly learned a lot about Cheney’s career from watching it.
Chadha: Anthony Kaufman recently wrote a piece that singled out Dirty Wars and the Alex Gibney film We Steal Secrets: The Story Of Wikileaks as two films that he thought might presage a wave of films by left-leaning filmmakers that are critical of Obama and his policies? Do you agree with that assessment or see a similar trend?
Powers: It’s a smart observation. Dirty Wars – which is one of the films I was most impressed by at Sundance – takes a long view of American foreign policy after 9/11 in the hands of the journalist at the center of that film, Jeremy Scahill, who’s best known for his book on Blackwater, and who now has a new book coming out that ties into this film. Alex Gibney’s Wikileaksfilm looks at the harsh response of the Obama administration to Bradley Manning, the U.S. soldier who had leaked the headline grabbing documents to Wikileaks. Those two films make an interesting contrast to documentaries of the past decade which comfortably coincided with a liberal critique of the Bush administration. I’m thinking of docs like Farhenheit 9/11 or No End In Sight that liberals rallied behind to point a finger at their political opponents. These new films force a more uncomfortable confrontation with an administration that those same liberals helped get elected.
Chadha: You previously mentioned to me that you thought that filmmakers screening unfinished films at Sundance were taking a risk. Why is that?
Powers: For some reason at Sundance, more than other festivals that I’m aware of, you find filmmakers rushing to screen works that sometimes aren’t completed. In my seven years of programming at Toronto, I’m not aware of any documentaries that went back for serious editing after their premiere – other than those presented as works-in-progress. But at Sundance every year there seems to be a few films that push the deadline so hard that they get taken back to the edit room afterwards. A notable example a couple of years ago was The Interrupters which played at Sundance in a version close to three hours before getting re-edited and having nearly an hour of material taken out of it. The question is, how much does that hurt a film, to have its first presentation before critics and industry be a version of itself that’s not the best. You can point to The Interrupters as a positive example. A lot of people, myself included, appreciated the long version of that film, and it didn’t diminish our interest at all. A fresh example this year was The Square, Jehane Noujaim’s film about the last two years of protest in Egypt around Tahrir Square. In this case the film arrived without any credits on it and Jehane told audiences that she was going back into the edit room. Normally that would sound to me like a challenging strategy. However, The Square came away from Sundance with an audience award. There’s clearly a power to that film, and a power that touched me watching that film, that transcended any rough edges that it contained. So I’ve just given two examples of films that made it work for them. I wouldn’t want to call out films where I think that strategy has not worked. But there certainly are cases and I’d strongly caution filmmakers not to assume that they’ll be the happy exceptions if they’re rushing their films for a festival deadline.
Chadha: There was a lot of talk this year about how well-represented women were on the doc side. I was wondering why you think this difference exists between the doc side and the fictional narrative side, where women still are underrepresented?
Powers: You can start a documentary with just a camera, as opposed to a fiction film where you need actors, a crew, a script, a lot more start-up resources. It may be self-perpetuating. Because there have been more prominent female doc makers, dating back to Barbara Kopple winning an Academy Award in the mid-70s, they’ve become role models for other women.
Chadha: What lost opportunities do you think filmmakers are struggling through at Sundance in terms of self-promotion? I know you’re a big proponent of filmmakers using Twitter.
Powers: I continue to be surprised by filmmakers who spend thousands of dollars on a publicist, but don’t take more advantage of social media which isfree. The Sundance docs that I saw making strong use of Twitter were Sound City which had 20,000 followers at the end of the festival; and 99% – The Occupy Wall Street Collaborative Film which had 15,000 followers. Then there’s a sharp drop-off. Films such as After Tiller, Dirty Wars and American Promise had around 1,500 followers each – they are getting off to a good start. Whenever possible, filmmakers need to begin their Twitter strategy well before their first festival in order to accumulate followers who can spread what’s happening at the festival.
Chadha: Which film were you most surprised by, and why?
Powers: It’s a reality of film festivals that you can’t see everything. You’re dividing your time between seeing films and utilizing that unique space to have meetings with people that you can’t otherwise. There were around 40 docs at Sundance and I’ve now seen roughly half. I think the film Blood Brother that won the audience prize and the jury prize took a lot of people by surprise because there was hardly any chatter about it in the corridors where press and industry exchange tips. It shows you that in a big festival, things can always surprise you.
I think certain filmmakers going into Sundance or other big festivals should consider screening more for press and tastemakers before the festival. The traditional wisdom has always been the opposite: to not screen for anyone prior, let your film be seen by an audience, and generate the buzz from there. That works for a film like Supersize Me – where the description made people put it on their priority list. But for a film that doesn’t have an obvious hook – including a lot of the films in the world documentary competition – those filmmakers might be better served trying to strategically screen for certain press and tastemakers so they can enter the festival with people already talking about them.
Chadha: Are there any films that are now on your “can’t miss” list?
Powers: Some of my favorite Sundance titles I’ve programmed for the Miami International Film Festival, which just announced its line-up last week. They include 20 Feet From Stardom, Blackfish, Gideon’S Army, The Crash Reel, Valentine Road, Which Way To The Front Line From Here? and Who Is Dayani Cristal?. There were many other strong films at Sundance that I look forward to showing at the Montclair Film Festival and Stranger Than Fiction. The Square I admire a lot. Muscle Shoals really took me by surprise. It played late in the festival and didn’t gain as much buzz as I thought it deserved. The director, who I believe is a first time director, made all kinds of smart creative decisions. Another film that went under the radar but made a big impression on me was The Stuart Hall Project about the U.K.-based black intellectual Stuart Hall. The film is wholly constructed out of archival sources, primarily from the BBC.
Chadha: What were the lessons about funding that came out of Sundance?
Powers: Sundance is a good survey of how docs are getting funded. This year reflects the important influence of Kickstarter. Recently Kickstarter introduced a tag for its projects that have a Sundance affiliation, and skimming that list I was impressed to see that Inequality For All had raised $83,000 and American Promise had raised $50,000 on Kickstarter. Other documentaries raised more modest sums. What’ so significant about Kickstarter is that those filmmakers did not need to wait around for a grant application committee to give them a green light. They could take matters into their own hands. Other funding players who were prominent are the Sundance Institute, the Tribeca Institute and the Ford Foundation which last year announced a $50 million commitment through the Just Films program. That Ford initiative supported projects like Gideon’S Army, Valentine Road, American Promise, Who Is Dayani Cristal?, God Loves Uganda and Citizen Koch.
Another important player is the equity group Impact Partners, who for several years have had a strong showing of their catalog at Sundance. This year their involvement included American Promise, The Crash Reel, Who Is Dayani Cristal? and Pandora’S Promise. The last group that I would mention is Cinereach, who were the heroes of Sundance last year for their funding of Beasts Of The Southern Wild, and who were back this year with four docs: Cutie And The Boxer, Citizen Koch, God Loves Uganda, and Narco Cultura.
When you look at the kinds of films that are showing up at Sundance, you see the names of some key producers re-occurring. This year the producer Julie Goldman, whose recent Sundance titles include Buck was back with three projects – Gideon’S Army, Manhunt and God Loves Uganda. The producer John Battsek from the U.K. who last year came with Searching For Sugar Man, was back this year with The Summit and Manhunt. And Jess Search, also based in the U.K., who is the founder of Britdoc and the Good Pitch had her name attached to the films Dirty Wars and Who Is Dayani Cristal? Clearly those producers and others like them have a good eye for spotting what makes a strong documentary in development. Those producers perform a variety of roles for filmmakers, whether it’s connecting them to financial support or supplying editorial perspective or connecting them to the other kind of industry players who can take a project further.
Chadha: Going back to Kickstarter for a minute, do you think films that have success on Kickstarter have the added benefit of showing to grantmaking institutions that their films are viable and that there’s an audience for them?
Powers: Absolutely. One bit of industry news this past week was that the HotDocs Forum, which has been a key place for documentaries to raise money, mainly in the broadcast world, announced that they will now accept projects on the basis of a certain amount of funds raised on Kickstarter. It used to be that you had to demonstrate a portion of your budget, like a quarter, was already being supported by a broadcaster or other traditional grantmaking institution. This change in policy signals the way in which Kickstarter funding is being taken more seriously.
In the case of The Square, the producers launched a Kickstarter campaign at Sundance to help finish their film. That seems like a very smart strategy for other filmmakers to consider. When you’re at a film festival, you have a rapt and enthused audience and if you can point them to a Kickstarter campaign, that’s a great way to leverage that enthusiasm. Even if you don’t need finishing funds, it’s a way to get outreach funds. I also saw the team from The Square selling t-shirts. After one screening they came away with few hundred dollars of cash in hand, which can help defray costs of attending a festival. These are strategies that filmmakers like Gary Hustwit have long practiced, emulating the way rock musicians sell t-shirts and posters at live performances. The film community has been slow to catch on. Maybe filmmakers are so busy getting their films made that they don’t have time to think about merchandise. But every bit of revenue helps.
Chadha: Any final thoughts?
Powers: We’ve talked about theatrical and digital distribution and new trends in crowdfunding. But it has to be said that the most long-standing and reliable place for documentary makers to get money is the broadcast world. HBO, which usually has a strong presence at Sundance, had the most overwhelming presence that I can remember, coming with six feature length documentaries. Plus during Sundance HBO bought Pussy Riot-a Punk Prayer. When you consider that HBO also has the film that was the 2012 winner at Idfa, Alan Berliner’s First Cousin Once Removed, and had two films at the Toronto festival – Mea Maxima Culpa by Alex Gibney and First Comes Love by Nina Davenport – that’s an impressive slate of films. There was news generated by other broadcasters getting active in the documentary field, including Showtime, which came with The World According To Dick Cheney. Just before Sundane, The New York Times reported about Showtime’s announcement of several documentaries in progress, including a film about Richard Pryor by Marina Zenovich, who made the Roman Polanski film, that I am personally looking forward to. In addition, CNN made an announcement during Sundance about a slate of feature-length docs, including a film by Alex Gibney. Another major player in that realm is A&E IndieFilms, which didn’t have any films in Sundance this year, but they’re already attached to Errol Morris’s Donald Rumsfeld documentary coming out later this year. All in all, the year is off to a good start.
Link to the original article here...
- 2/19/2013
- by Peter Belsito
- Sydney's Buzz
Melbourne, Jan ary 24: Three CIA officers, who helped hunt down Osama bin Laden, were mowed down by Nicole Kidman's security detail at the Sundance Film Festival.
Greg Barker, director of the Sundance documentary 'Manhunt: The Search for bin Laden', came to the festival with three ex-cia operatives interviewed in his film - Marty Martin, Cindy Storer and Nada Bakos.
While heading into a building for an interview, Barker and his CIA companions overwhelmed by the actress' guards.
"Suddenly, all these heavy guys ... are like, 'Get out of the way!' And they started pushing them, pushing them, forcing them through this.
Greg Barker, director of the Sundance documentary 'Manhunt: The Search for bin Laden', came to the festival with three ex-cia operatives interviewed in his film - Marty Martin, Cindy Storer and Nada Bakos.
While heading into a building for an interview, Barker and his CIA companions overwhelmed by the actress' guards.
"Suddenly, all these heavy guys ... are like, 'Get out of the way!' And they started pushing them, pushing them, forcing them through this.
- 1/24/2013
- by Shiva Prakash
- RealBollywood.com
Zero Dark Thirty may have focused the forty minute raid which successfully captured and killed Osama bin Laden, but Greg Barker’s Manhunt takes you a few decades back when a small group of female C.I.A. analysts (nicknamed “The Sisterhood”) came together and uncovered the, now known, worldwide terrorist group, al-Qaeda. Where Zero Dark Thirty is a fictionalized look at these events, Manhunt features the real life C.I.A. analysts, operatives, and targeters who first discovered the group, and diligently worked to end their reign of terror. Others at the C.I.A. thought those in The Sisterhood were simply obsessed with bin Laden, and had no real reason to be tracking him because back then, bin Laden lived out in the open, claiming he had no ties to terrorism. But The Sisterhood kept discovering he was the thread that tied these various terrorist groups together. The question then became: was bin Laden simply...
- 1/23/2013
- by Allison Loring
- FilmSchoolRejects.com
Title: Manhunt Director: Greg Barker This past December, a film was released which chronicled, in detail, the events that led to the death of Osama Bin Laden at the hands of a U.S. Navy Seal team. Zero Dark Thirty was criticized for its depiction of torture, but still managed to receive five Oscar nominations, including a bid for Best Picture. Now, documentary filmmaker Greg Barker takes a look at the hunt for Bin Laden from a different perspective, composing a comprehensive nonfiction film featuring CIA analysts and other involved persons to recount a controversial and mightily interesting chapter in recent U.S. history. The name Osama Bin Laden was well known [ Read More ]
The post Manhunt Movie Review appeared first on Shockya.com.
The post Manhunt Movie Review appeared first on Shockya.com.
- 1/23/2013
- by abe
- ShockYa
Did the real "Maya" character from "Zero Dark Thirty" walk the red carpet at the Sundance Film Festival on Sunday night? It's not likely, but one of the interesting things about the upcoming HBO documentary "Manhunt: The Search for Osama bin Laden" is that it did hint -- for a few minutes in the mind of this viewer, anyway -- that maybe the driven agent played by Jessica Chastain in Kathryn Bigelow's controversial drama had been outed by director Greg Barker's doc. Since it began screening last November, "ZDT" has won accolades,...
- 1/22/2013
- by Steve Pond
- The Wrap
Park City — The flip side of Richard Rowley's Dirty Wars, which registers horror at the vast sprawl of U.S. secret military activity, Greg Barker's Manhunt is a fascinated account of one instance where all that shadowy work eventually achieved the desired effect. Acknowledging serious moral questions but setting them outside its purview, the thoroughly involving doc sheds light on how information was pieced together while leaving debates over the techniques that gathered it for viewers to conduct. Interest should be strong for its May HBO airdate. Where Zero Dark Thirty introduced audiences to the important role female agents
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- 1/22/2013
- by John DeFore
- The Hollywood Reporter - Movie News
It was Saturation Sunday at Sundance's Marc Theater as the film festival saw the premieres of a pair of documentaries with the potential to have viewers shrugging at oft-repeated stories. I've already reviewed Evan Leong's "Linsanity," which adds Jeremy Lin's voice to an underdog story most sports fans hear ad nauseaum last spring. Before seeing "Linsanity," I caught Greg Barker's Us Documentary Competition entry "Manhunt," which follows the Oscar nominated hit "Zero Dark Thirty" (my favorite theatrical release of 2012) and the NatGeo telefilm "Seal Team Six" among recent depictions of the search for and killing of Osama bin...
- 1/21/2013
- by Daniel Fienberg
- Hitfix
Meet the 2013 Sundance Filmmakers #8: Greg Barker Tracks Down Osama bin Laden's Hunters in 'Manhunt'
"Manhunt" director Greg Barker has spent much of his life as a grown man overseas, as a journalist then filmmaker. The 9/11 event shifted his interest largely to stories between Islamic fundamentalism and the U.S. government. He was pressed to ask the question about what we had learned on the eve that Osama bin Laden was captured and killed -- not just about our enemy, but about our own nation. If "Zero Dark Thirty" caught your attention, consider "Manhunt" essential viewing. What It's About: "A tale of espionage and the moral choices of war, as revealed by the insiders who led the CIA’s secret war against Al Qaeda and the hunt for Osama bin Laden." What It's Really About: "I was surprised to discover that many of the bin Laden hunters, from the mid-90s onwards, were women. The broad strokes of their journey are incredible: they were the...
- 1/9/2013
- by Indiewire
- Indiewire
Vol. I Issue 5
Join us twice weekly. Send us links to your sizzle reels and film sites.
Two Short Listed Documentary Features
Ai Weiwei: Never Sorry, directed by Alison Klayman
Ai Weiwei is China's most famous international artist, and its most outspoken domestic critic. Against a backdrop of strict censorship and an unresponsive legal system, Ai expresses himself and organizes people through art and social media. In response, Chinese authorities have shut down his blog, beat him up, bulldozed his newly built studio, and held him in secret detention.
Ai Weiwei: Never Sorry is the inside story of a dissident for the digital age who inspires global audiences and whose actions blur the boundaries of art and politics. First-time director Alison Klayman gained unprecedented access to Ai while working as a journalist in China. Her detailed portrait of Weiwei’s life and work allows us to follow Weiwei’s journey and his transformation of his life and works are perceived. Few artists have been able to use their public stature to help cause political change. Clearly this is the story of a giant killer. Regrettably the story continues and China continues to repress its people.
What’s special about Ai Weiwei: Never Sorry is that the filmmaker was able to follow Ai Weiwei over several years. We are able to see a Chinese dissident whose home is watched by 1984-like cameras hung from telephone and power poles. We can only assume his home is bugged, his cell phone is bugged and all of his computers are bugged. The power of this work is seeing an artist functioning in this environment. Shocking. His spirit is best shown in his defiant art, his raised middle finger in the foreground of many still images of iconic monuments to the Chinese peoples’ struggles. He dares to challenge America’s biggest trading partner, debt holder and, by the end of the film, he is shown silenced, unable to comment because he was released from detention. The irony of this powerful work is that we and the world are shown to be complicit.
While the film lacks the slickness of many of the Academy’s short listed docs, its power flows from the subject. Clearly an artist whose work reflects his life experiences and struggle is a difficult subject. Weiwei constantly tweaks the authorities who clearly fear its citizens being free to express themselves and their feelings about their government globally. Yet the world is silent about this repressive government that spies on, beats up and terrorizes its citizens. This is another film that should be nominated. Its construction, score, shooting suggests that Ms. Klayman can, with some more experience, become an extraordinary filmmaker.
The Filmmakers
Alison Klayman, Director, Producer, Cinematographer
Ai Weiwei: Never Sorryis Alison Klayman's debut feature documentary, which she directed, produced, filmed and co-edited. She is a 2011 Sundance Documentary Fellow and one of Filmmaker Magazine's "25 New Faces of Independent Film". She has been a guest on The Colbert Report, as well as CNN and NPR. Klayman lived in China from 2006 to 2010, working as a freelance journalist. She speaks Mandarin and Hebrew, and graduated from Brown University in 2006.
Adam Schlesinger, Producer
Adam Schlesinger is an award-winning independent film producer based in New York. He produced the Sundance Film Festival selections: Smash His Camera, which won for Best Director; Page One- Inside the New York Times; and God Grew Tired of Us, winner of the Grand Jury Prize and Audience Award.
Credits:
Director/Producer/Writer/Camera: Alison Klayman
Producer: Adam Schlesinger
Contributing Producer: Colin
Executive Producers: Andrew Cohen, Julie Goldman, Karl
Music: Ilan Isakov
Editor: Jen Fineran
Production Companies: Expressions United Media, Muse Film and Television, Never Sorry
Distribution: Sundance Selects, Artificial Eye
Bully, directed by Lee Hirsch A Case Study: How to be Short Listed and Gross $3Million
Bully, directed by Lee Hirsch
A Case Study: How to be Short Listed and Gross $3Million
Bully is a character-driven documentary that looks at how bullying has touched five children and their families. The five stories each represent a different facet of bullying. Filmed over the course of the 2009/2010 school year, Bully opens a window onto the lives of bullied kids, revealing a problem that transcends geographic, racial, ethnic and economic borders. It documents the responses of teachers and administrators to aggressive behaviors that defy “kids will be kids” clichés, and it captures a growing movement among parents and youths to change how bullying is handled in schools, in communities and in society as a whole.
Bully is a case study of how The Weinstein Company can take what would be a traditional non-theatrical documentary feature and turn it into both a cause and a theatrical event and, because of the rule changes at the Academy, have it come to be short listed for an Oscar.
Bully is an excellent film, it is well made, directed, edited and scored. Its characters and stories are well done. It’s just not in the same league as many of the documentary films short listed for this year’s Academy Award nomination.
When the film was released with an “R” rating, appropriate and consistent with the MPAA guidelines because of language and violence, the Weinsteins used the R rating to create a controversy which enabled the film to become a box office success and was the basis of a brilliant Academy campaign for a documentary nomination. This is one of the best examples (since Michael Moore and Roger and Menot being nominated for an Oscar) of creating a box-office success with a documentary. (Roger and Mewas distributed by Warners.) As of December 30, 2012 Bully had grossed over $3.5 million. (Box Office Mojo)
The MPAA gives an automatic “R” rating to films that use the “F” word. It has done this since its inception. This makes sense. The “F” word is inappropriate for children. But wait, Bullyis for middle and high school students! These schools can’t (or should not) show “R” rated films.
The MPAA rating system has never been particularly clear to Americans. Developed by the Motion Picture Association to prevent local and/or regional ratings it has always been “advisory”; however, some media outlets will not accept advertising or promote films with some of the harder ratings. The Weinsteins knew that this film would get an “R” rating because of the “F” word. No surprise. Yet how could this “important” film for school children to see be blocked from its audience?
“Bully's R ratingsparks a nationwide protest. ...stars, theater owners, and Members of Congress have joined forces to protest the film's R rating as a result of the film having six swear words.” This is in the industry press. (Deadline)
The Weinsteins, of course with great fanfare, appealed the rating decision which got the film more press. They decided to release the film in just two markets to qualify for the documentary Academy award, without a rating, but continue the press-push to have the rating changed.
On April 5, The Weinstein Company announced that their doc, Bully, was to receive a PG-13 from the MPAA, with some minor cuts. After removing three uses of the F-word it was re-released in the new PG-13 version on April 13 and shortly after the run was expanded to 55 theatrical markets.
Deadline reported, “The big victory, even though they had to remove three F-words, was that they could keep the controversial school bus bullying scene unedited and uncut, which (the director) Hirsch continuously refused to edit, "since it is too important to the truth and integrity behind the film." Hirsch states: "I feel completely vindicated with this resolution. While I retain my belief that PG-13 has always been the appropriate rating for this film, as reinforced by Canada's rating of a PG, we have today scored a victory from the MPAA. The support and guidance we have received throughout this process has been incredible."
Let’s note that the MPAA is an industry trade association. The Weinsteins are members. It’s not exactly a group that battles. The ratings are advisory only.
The Weinstein press release continued the illusion, This decision by the MPAA is a huge victory for the parents, educators, lawmakers, and most importantly, children, everywhere who have been fighting for months for the appropriate PG-13 rating without cutting some of the most sensitive moments. Three uses of the 'F word' were removed from other scenes, which ultimately persuaded the MPAA to lower the rating. Hirsch made the documentary with the intent to give an uncensored, real-life portrayal of what 13 million children suffer through every year. The new rating, which came about with the great support from MPAA Chairman Chris Dodd, grants the schools, organizations and cities all around the country who are lined up and ready to screen Bully, including the National Education Association and the Cincinnati School District, the opportunity to share this educational tool with their children.”
It needs to be pointed out that this controversy was a set up. When The Weinstein Company released Bully "unrated" in theaters in New York and Los Angeles it barely earned $150,000. The film might be seen by a few hundred thousand people in theaters which is a theatrical success but not the millions of kids the filmmakers are on record to reach. (A $3.5 mil gross suggests at a $6 admission fee perhaps a half-million tickets were sold.) Millions of people don’t usually go to theaters to see docs. So a $3.5 mil theatrical gross makes this film a major theatrical success. It puts this film in the top 50 or so theatrical documentaries of all time.
But all along, the Weinsteins knew that the film can easily be provided in DVD and in video-on-demand to schools, teachers, students and families in an “Educational” version without the R rated language being included. The use of an educational version would totally serve the school market. This version could be provided for “free” or even for a modest fee if the Weinsteins were really interested in this aspect of marketing the film. The Bullybook is available now for sale and soon the Blu Ray and DVD. Seeing the film in a classroom and then talking about it is what educators do with films. There are over 100,000 school, church and other groups (like Girls Scouts) that can show this film to groups of kids.
Note: Full disclosure, I started a Move-on Campaign and petitioned the Weinsteins to offer
Bully for a Buck! after I saw the film. More than 480 people have signed the petition to date. No match for the hundreds of thousands who signed the rating controversy petition but I did not do any publicity. As a parent of two teens, I felt this was a far more logical thing to do to get the film out to children without the strong language. This petition continues on Change.org.
Bully Short Listed for an Academy Award
With the rule change at the Academy this year, the documentary branch is working as a committee of the whole to do both the short listing and the nomination. The committee members were sent 125 documentary features, mostly arriving at the tail end of the deadline, to review. The committee was made up of both documentary branch members and Academy members who have been nominated or won documentary Oscars. Obviously, few members saw all 125 documentaries. The short list of 15 films was made from tallying the results of each member’s list of their 15 top docs. I think the publicity for Bully insured it would make this list.
The Weinsteins also had it screened at the Academy as part of the Academy members screening program, one of the handful of documentaries that were screened as part of the weekend program. This also will likely help the film get on members’ radar. Smart. Last year, The Weinsteins’ film The Undefeatedwon the Documentary Oscar. They do a great job getting their films out.
Credits:
Directed by: Lee Hirsch
Produced by: Lee Hirsch, Cynthia Lowen
Written by: Lee Hirsch, Cynthia Lowen
Executive Producer: Cindy Waitt
Cinematography: Lee Hirsch
Edited by: Lindsay Utz, Jenny Golden
Original Score by: Ion Furjanic, Justin Rice/Christian Rudder
Consulting Editors: Enat Sidi, Cynthia Lowen
Music Supervisor: Brooke Wentz
Running Time: 94 minutes
MPAA Rating: PG-13 for some language
Short Notes and Update:
WGA Announces Nominees for Documentary Screenplay Award
The WGA announced six nominees for its documentary screenplay award: War, Mea Culpa and Sugar Man also are on the Academy shortlist of feature docs hoping to score an Oscar nomination.
Winners will be honored by the Writers Guild of America, West (Wgaw) and the Writers Guild of America, East (Wgae) at the 2013 Writers Guild Awards on Feb. 17 during simultaneous ceremonies in Los Angeles and New York.
Documentary Screenplay
The Central Park Five, written by Sarah Burns and David McMahon and Ken Burns; Sundance Selects
The Invisible War, written by Kirby Dick; Cinedigm Entertainment Group
Mea Maxima Culpa: Silence in the House of God, written by Alex Gibney; HBO Documentary Films
Searching for Sugar Man, written by Malik Bendejelloul; Sony Pictures Classics
We Are Legion: The Story of the Hacktivists, written by Brian Knappenberger; Cinetic Media
West of Memphis, written by Amy Berg & Billy McMillin; Sony Pictures Classics
Sundance Announces 2013 Documentary Competition:
U.S. Documentary Competition
The world premieres of 16 American documentary films.
99% - The Occupy Wall Street Collaborative Film/ U.S.A. (Directors: Audrey Ewell, Aaron Aites, Lucian Read, Nina Krstic) The Occupy movement erupted in September 2011, propelling economic inequality into the spotlight. In an unprecedented collaboration, filmmakers across America tell its story, digging into big picture issues as organizers, analysts, participants and critics reveal how it happened and why.
After Tiller/ U.S.A. (Directors: Martha Shane, Lana Wilson) — Since the assassination of Dr. George Tiller in 2009, only four doctors in the country provide late-term abortions. With unprecedented access, After Tiller goes inside the lives of these physicians working at the center of the storm.
American Promise/ U.S.A. (Directors: Joe Brewster, Michèle Stephenson) — This intimate documentary follows the 12-year journey of two African-American families pursuing the promise of opportunity through the education of their sons.
Blackfish/ U.S.A. (Director: Gabriela Cowperthwaite) — Notorious killer whale Tilikum is responsible for the deaths of three individuals, including a top killer whale trainer. Blackfish shows the sometimes devastating consequences of keeping such intelligent and sentient creatures in captivity.
Blood Brother/ U.S.A. (Director: Steve Hoover) — Rocky went to India as a disillusioned tourist. When he met a group of children with HIV, he decided to stay. He never could have imagined the obstacles he would face, or the love he would find.
Citizen Koch / U.S.A. (Directors: Carl Deal, Tia Lessin) — Wisconsin – birthplace of the Republican Party, government unions, “cheeseheads” and Paul Ryan – becomes a test market in the campaign to buy Democracy, and ground zero in the battle for the future of the Gop.
Cutie and the Boxer/ U.S.A. (Director: Zachary Heinzerling) — This candid New York love story explores the chaotic 40-year marriage of famed boxing painter Ushio Shinohara and his wife, Noriko. Anxious to shed her role of assistant to her overbearing husband, Noriko seeks an identity of her own.
Dirty Wars/ U.S.A. (Director: Richard Rowley) — Investigative journalist Jeremy Scahill chases down the truth behind America’s covert wars.
Gideon's Army/ U.S.A. (Director: Dawn Porter) — Gideon’s Army follows three young, committed Public Defenders who are dedicated to working for the people society would rather forget. Long hours, low pay and staggering caseloads are so common that even the most committed often give up.
God Loves Uganda/ U.S.A. (Director: Roger Ross Williams) — A powerful exploration of the evangelical campaign to infuse African culture with values imported from America’s Christian Right. The film follows American and Ugandan religious leaders fighting “sexual immorality” and missionaries trying to convince Ugandans to follow biblical law.
Inequality for All/ U.S.A. (Director: Jacob Kornbluth) — In this timely and entertaining documentary, noted economic-policy expert Robert Reich distills the topic of widening income inequality, and addresses the question of what effects this increasing gap has on our economy and our democracy.
Life According to Sam/ U.S.A. (Directors: Sean Fine, Andrea Nix Fine) — Dr. Leslie Gordon and Dr. Scott Berns fight to save their only son from a rare and fatal aging disease for which there is no cure. Their work may one day unlock the key to aging in all of us.
Manhunt / U.S.A., United Kingdom (Director: Greg Barker) — This espionage tale goes inside the CIA’s long conflict against Al Qaeda, as revealed by the remarkable women and men whose secret war against Osama bin Laden started nearly a decade before most of us even knew his name.
Narco Cultura/ U.S.A. (Director: Shaul Schwarz) — An examination of Mexican drug cartels’ influence in pop culture on both sides of the border as experienced by an La narcocorrido singer dreaming of stardom and a Juarez crime scene investigator on the front line of Mexico’s Drug War.
Twenty Feet From Stardom/ U.S.A. (Director: Morgan Neville) — Backup singers live in a world that lies just beyond the spotlight. Their voices bring harmony to the biggest bands in popular music, but we've had no idea who these singers are or what lives they lead – until now. Day One Film
Valentine Road/ U.S.A. (Director: Marta Cunningham) — In 2008, eighth-grader Brandon McInerney shot classmate Larry King at point blank range. Unraveling this tragedy from point of impact, the film reveals the heartbreaking circumstances that led to the shocking crime as well as its startling aftermath.
________________________________________________________________________
Credits: Editing by Jessica Just for SydneysBuzz
________________________________________________________________________
Block Doc Workshops in Los Angeles February 2013
The International Documentary Association will be hosting Documentary Funding and Documentary Tune-Up Workshops with Block on February 9/10. http://www.eventbrite.com/org/169037034
Mitchell Block specializes in conceiving, producing, marketing & distributing independent features & consulting. He is an expert in placing both completed works into distribution & working with producers to make projects fundable. He conducts regular workshops in film producing in Los Angeles and most recently in Maine, Russia and in Myanmar (Burma).
Poster Girl, produced by Block was nominated for a Documentary Academy Award and selected by the Ida as the Best Doc Short 2011. It was also nominated for two Emmy Awards and aired on HBO. He is an executive producer of the Emmy Award-winning PBS series Carrier, a 10-hour series that he conceived & co-created. Block is a graduate of Tisch School and Columbia University’s Graduate School of Business. He is a member of Academy of Motion Picture Arts & Sciences, the Television Academy, a founding member of BAFTA-la and has been teaching at USC School of Cinematic Arts since 1979. Currently Block teaches a required class in the USC Peter Stark Producing Program. ______________________________________________________________________
©2013Mwb All Rights Reserved All Rights Reserved. All information and designs on the Sites are copyrighted material owned by Block. Reproduction, dissemination, or transmission of any part of the material here without the express written consent of the owner is strictly prohibited.All other product names and marks on Block Direct, whether trademarks, service marks, or other type, and whether registered or unregistered, is the property of Block.
Join us twice weekly. Send us links to your sizzle reels and film sites.
Two Short Listed Documentary Features
Ai Weiwei: Never Sorry, directed by Alison Klayman
Ai Weiwei is China's most famous international artist, and its most outspoken domestic critic. Against a backdrop of strict censorship and an unresponsive legal system, Ai expresses himself and organizes people through art and social media. In response, Chinese authorities have shut down his blog, beat him up, bulldozed his newly built studio, and held him in secret detention.
Ai Weiwei: Never Sorry is the inside story of a dissident for the digital age who inspires global audiences and whose actions blur the boundaries of art and politics. First-time director Alison Klayman gained unprecedented access to Ai while working as a journalist in China. Her detailed portrait of Weiwei’s life and work allows us to follow Weiwei’s journey and his transformation of his life and works are perceived. Few artists have been able to use their public stature to help cause political change. Clearly this is the story of a giant killer. Regrettably the story continues and China continues to repress its people.
What’s special about Ai Weiwei: Never Sorry is that the filmmaker was able to follow Ai Weiwei over several years. We are able to see a Chinese dissident whose home is watched by 1984-like cameras hung from telephone and power poles. We can only assume his home is bugged, his cell phone is bugged and all of his computers are bugged. The power of this work is seeing an artist functioning in this environment. Shocking. His spirit is best shown in his defiant art, his raised middle finger in the foreground of many still images of iconic monuments to the Chinese peoples’ struggles. He dares to challenge America’s biggest trading partner, debt holder and, by the end of the film, he is shown silenced, unable to comment because he was released from detention. The irony of this powerful work is that we and the world are shown to be complicit.
While the film lacks the slickness of many of the Academy’s short listed docs, its power flows from the subject. Clearly an artist whose work reflects his life experiences and struggle is a difficult subject. Weiwei constantly tweaks the authorities who clearly fear its citizens being free to express themselves and their feelings about their government globally. Yet the world is silent about this repressive government that spies on, beats up and terrorizes its citizens. This is another film that should be nominated. Its construction, score, shooting suggests that Ms. Klayman can, with some more experience, become an extraordinary filmmaker.
The Filmmakers
Alison Klayman, Director, Producer, Cinematographer
Ai Weiwei: Never Sorryis Alison Klayman's debut feature documentary, which she directed, produced, filmed and co-edited. She is a 2011 Sundance Documentary Fellow and one of Filmmaker Magazine's "25 New Faces of Independent Film". She has been a guest on The Colbert Report, as well as CNN and NPR. Klayman lived in China from 2006 to 2010, working as a freelance journalist. She speaks Mandarin and Hebrew, and graduated from Brown University in 2006.
Adam Schlesinger, Producer
Adam Schlesinger is an award-winning independent film producer based in New York. He produced the Sundance Film Festival selections: Smash His Camera, which won for Best Director; Page One- Inside the New York Times; and God Grew Tired of Us, winner of the Grand Jury Prize and Audience Award.
Credits:
Director/Producer/Writer/Camera: Alison Klayman
Producer: Adam Schlesinger
Contributing Producer: Colin
Executive Producers: Andrew Cohen, Julie Goldman, Karl
Music: Ilan Isakov
Editor: Jen Fineran
Production Companies: Expressions United Media, Muse Film and Television, Never Sorry
Distribution: Sundance Selects, Artificial Eye
Bully, directed by Lee Hirsch A Case Study: How to be Short Listed and Gross $3Million
Bully, directed by Lee Hirsch
A Case Study: How to be Short Listed and Gross $3Million
Bully is a character-driven documentary that looks at how bullying has touched five children and their families. The five stories each represent a different facet of bullying. Filmed over the course of the 2009/2010 school year, Bully opens a window onto the lives of bullied kids, revealing a problem that transcends geographic, racial, ethnic and economic borders. It documents the responses of teachers and administrators to aggressive behaviors that defy “kids will be kids” clichés, and it captures a growing movement among parents and youths to change how bullying is handled in schools, in communities and in society as a whole.
Bully is a case study of how The Weinstein Company can take what would be a traditional non-theatrical documentary feature and turn it into both a cause and a theatrical event and, because of the rule changes at the Academy, have it come to be short listed for an Oscar.
Bully is an excellent film, it is well made, directed, edited and scored. Its characters and stories are well done. It’s just not in the same league as many of the documentary films short listed for this year’s Academy Award nomination.
When the film was released with an “R” rating, appropriate and consistent with the MPAA guidelines because of language and violence, the Weinsteins used the R rating to create a controversy which enabled the film to become a box office success and was the basis of a brilliant Academy campaign for a documentary nomination. This is one of the best examples (since Michael Moore and Roger and Menot being nominated for an Oscar) of creating a box-office success with a documentary. (Roger and Mewas distributed by Warners.) As of December 30, 2012 Bully had grossed over $3.5 million. (Box Office Mojo)
The MPAA gives an automatic “R” rating to films that use the “F” word. It has done this since its inception. This makes sense. The “F” word is inappropriate for children. But wait, Bullyis for middle and high school students! These schools can’t (or should not) show “R” rated films.
The MPAA rating system has never been particularly clear to Americans. Developed by the Motion Picture Association to prevent local and/or regional ratings it has always been “advisory”; however, some media outlets will not accept advertising or promote films with some of the harder ratings. The Weinsteins knew that this film would get an “R” rating because of the “F” word. No surprise. Yet how could this “important” film for school children to see be blocked from its audience?
“Bully's R ratingsparks a nationwide protest. ...stars, theater owners, and Members of Congress have joined forces to protest the film's R rating as a result of the film having six swear words.” This is in the industry press. (Deadline)
The Weinsteins, of course with great fanfare, appealed the rating decision which got the film more press. They decided to release the film in just two markets to qualify for the documentary Academy award, without a rating, but continue the press-push to have the rating changed.
On April 5, The Weinstein Company announced that their doc, Bully, was to receive a PG-13 from the MPAA, with some minor cuts. After removing three uses of the F-word it was re-released in the new PG-13 version on April 13 and shortly after the run was expanded to 55 theatrical markets.
Deadline reported, “The big victory, even though they had to remove three F-words, was that they could keep the controversial school bus bullying scene unedited and uncut, which (the director) Hirsch continuously refused to edit, "since it is too important to the truth and integrity behind the film." Hirsch states: "I feel completely vindicated with this resolution. While I retain my belief that PG-13 has always been the appropriate rating for this film, as reinforced by Canada's rating of a PG, we have today scored a victory from the MPAA. The support and guidance we have received throughout this process has been incredible."
Let’s note that the MPAA is an industry trade association. The Weinsteins are members. It’s not exactly a group that battles. The ratings are advisory only.
The Weinstein press release continued the illusion, This decision by the MPAA is a huge victory for the parents, educators, lawmakers, and most importantly, children, everywhere who have been fighting for months for the appropriate PG-13 rating without cutting some of the most sensitive moments. Three uses of the 'F word' were removed from other scenes, which ultimately persuaded the MPAA to lower the rating. Hirsch made the documentary with the intent to give an uncensored, real-life portrayal of what 13 million children suffer through every year. The new rating, which came about with the great support from MPAA Chairman Chris Dodd, grants the schools, organizations and cities all around the country who are lined up and ready to screen Bully, including the National Education Association and the Cincinnati School District, the opportunity to share this educational tool with their children.”
It needs to be pointed out that this controversy was a set up. When The Weinstein Company released Bully "unrated" in theaters in New York and Los Angeles it barely earned $150,000. The film might be seen by a few hundred thousand people in theaters which is a theatrical success but not the millions of kids the filmmakers are on record to reach. (A $3.5 mil gross suggests at a $6 admission fee perhaps a half-million tickets were sold.) Millions of people don’t usually go to theaters to see docs. So a $3.5 mil theatrical gross makes this film a major theatrical success. It puts this film in the top 50 or so theatrical documentaries of all time.
But all along, the Weinsteins knew that the film can easily be provided in DVD and in video-on-demand to schools, teachers, students and families in an “Educational” version without the R rated language being included. The use of an educational version would totally serve the school market. This version could be provided for “free” or even for a modest fee if the Weinsteins were really interested in this aspect of marketing the film. The Bullybook is available now for sale and soon the Blu Ray and DVD. Seeing the film in a classroom and then talking about it is what educators do with films. There are over 100,000 school, church and other groups (like Girls Scouts) that can show this film to groups of kids.
Note: Full disclosure, I started a Move-on Campaign and petitioned the Weinsteins to offer
Bully for a Buck! after I saw the film. More than 480 people have signed the petition to date. No match for the hundreds of thousands who signed the rating controversy petition but I did not do any publicity. As a parent of two teens, I felt this was a far more logical thing to do to get the film out to children without the strong language. This petition continues on Change.org.
Bully Short Listed for an Academy Award
With the rule change at the Academy this year, the documentary branch is working as a committee of the whole to do both the short listing and the nomination. The committee members were sent 125 documentary features, mostly arriving at the tail end of the deadline, to review. The committee was made up of both documentary branch members and Academy members who have been nominated or won documentary Oscars. Obviously, few members saw all 125 documentaries. The short list of 15 films was made from tallying the results of each member’s list of their 15 top docs. I think the publicity for Bully insured it would make this list.
The Weinsteins also had it screened at the Academy as part of the Academy members screening program, one of the handful of documentaries that were screened as part of the weekend program. This also will likely help the film get on members’ radar. Smart. Last year, The Weinsteins’ film The Undefeatedwon the Documentary Oscar. They do a great job getting their films out.
Credits:
Directed by: Lee Hirsch
Produced by: Lee Hirsch, Cynthia Lowen
Written by: Lee Hirsch, Cynthia Lowen
Executive Producer: Cindy Waitt
Cinematography: Lee Hirsch
Edited by: Lindsay Utz, Jenny Golden
Original Score by: Ion Furjanic, Justin Rice/Christian Rudder
Consulting Editors: Enat Sidi, Cynthia Lowen
Music Supervisor: Brooke Wentz
Running Time: 94 minutes
MPAA Rating: PG-13 for some language
Short Notes and Update:
WGA Announces Nominees for Documentary Screenplay Award
The WGA announced six nominees for its documentary screenplay award: War, Mea Culpa and Sugar Man also are on the Academy shortlist of feature docs hoping to score an Oscar nomination.
Winners will be honored by the Writers Guild of America, West (Wgaw) and the Writers Guild of America, East (Wgae) at the 2013 Writers Guild Awards on Feb. 17 during simultaneous ceremonies in Los Angeles and New York.
Documentary Screenplay
The Central Park Five, written by Sarah Burns and David McMahon and Ken Burns; Sundance Selects
The Invisible War, written by Kirby Dick; Cinedigm Entertainment Group
Mea Maxima Culpa: Silence in the House of God, written by Alex Gibney; HBO Documentary Films
Searching for Sugar Man, written by Malik Bendejelloul; Sony Pictures Classics
We Are Legion: The Story of the Hacktivists, written by Brian Knappenberger; Cinetic Media
West of Memphis, written by Amy Berg & Billy McMillin; Sony Pictures Classics
Sundance Announces 2013 Documentary Competition:
U.S. Documentary Competition
The world premieres of 16 American documentary films.
99% - The Occupy Wall Street Collaborative Film/ U.S.A. (Directors: Audrey Ewell, Aaron Aites, Lucian Read, Nina Krstic) The Occupy movement erupted in September 2011, propelling economic inequality into the spotlight. In an unprecedented collaboration, filmmakers across America tell its story, digging into big picture issues as organizers, analysts, participants and critics reveal how it happened and why.
After Tiller/ U.S.A. (Directors: Martha Shane, Lana Wilson) — Since the assassination of Dr. George Tiller in 2009, only four doctors in the country provide late-term abortions. With unprecedented access, After Tiller goes inside the lives of these physicians working at the center of the storm.
American Promise/ U.S.A. (Directors: Joe Brewster, Michèle Stephenson) — This intimate documentary follows the 12-year journey of two African-American families pursuing the promise of opportunity through the education of their sons.
Blackfish/ U.S.A. (Director: Gabriela Cowperthwaite) — Notorious killer whale Tilikum is responsible for the deaths of three individuals, including a top killer whale trainer. Blackfish shows the sometimes devastating consequences of keeping such intelligent and sentient creatures in captivity.
Blood Brother/ U.S.A. (Director: Steve Hoover) — Rocky went to India as a disillusioned tourist. When he met a group of children with HIV, he decided to stay. He never could have imagined the obstacles he would face, or the love he would find.
Citizen Koch / U.S.A. (Directors: Carl Deal, Tia Lessin) — Wisconsin – birthplace of the Republican Party, government unions, “cheeseheads” and Paul Ryan – becomes a test market in the campaign to buy Democracy, and ground zero in the battle for the future of the Gop.
Cutie and the Boxer/ U.S.A. (Director: Zachary Heinzerling) — This candid New York love story explores the chaotic 40-year marriage of famed boxing painter Ushio Shinohara and his wife, Noriko. Anxious to shed her role of assistant to her overbearing husband, Noriko seeks an identity of her own.
Dirty Wars/ U.S.A. (Director: Richard Rowley) — Investigative journalist Jeremy Scahill chases down the truth behind America’s covert wars.
Gideon's Army/ U.S.A. (Director: Dawn Porter) — Gideon’s Army follows three young, committed Public Defenders who are dedicated to working for the people society would rather forget. Long hours, low pay and staggering caseloads are so common that even the most committed often give up.
God Loves Uganda/ U.S.A. (Director: Roger Ross Williams) — A powerful exploration of the evangelical campaign to infuse African culture with values imported from America’s Christian Right. The film follows American and Ugandan religious leaders fighting “sexual immorality” and missionaries trying to convince Ugandans to follow biblical law.
Inequality for All/ U.S.A. (Director: Jacob Kornbluth) — In this timely and entertaining documentary, noted economic-policy expert Robert Reich distills the topic of widening income inequality, and addresses the question of what effects this increasing gap has on our economy and our democracy.
Life According to Sam/ U.S.A. (Directors: Sean Fine, Andrea Nix Fine) — Dr. Leslie Gordon and Dr. Scott Berns fight to save their only son from a rare and fatal aging disease for which there is no cure. Their work may one day unlock the key to aging in all of us.
Manhunt / U.S.A., United Kingdom (Director: Greg Barker) — This espionage tale goes inside the CIA’s long conflict against Al Qaeda, as revealed by the remarkable women and men whose secret war against Osama bin Laden started nearly a decade before most of us even knew his name.
Narco Cultura/ U.S.A. (Director: Shaul Schwarz) — An examination of Mexican drug cartels’ influence in pop culture on both sides of the border as experienced by an La narcocorrido singer dreaming of stardom and a Juarez crime scene investigator on the front line of Mexico’s Drug War.
Twenty Feet From Stardom/ U.S.A. (Director: Morgan Neville) — Backup singers live in a world that lies just beyond the spotlight. Their voices bring harmony to the biggest bands in popular music, but we've had no idea who these singers are or what lives they lead – until now. Day One Film
Valentine Road/ U.S.A. (Director: Marta Cunningham) — In 2008, eighth-grader Brandon McInerney shot classmate Larry King at point blank range. Unraveling this tragedy from point of impact, the film reveals the heartbreaking circumstances that led to the shocking crime as well as its startling aftermath.
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Credits: Editing by Jessica Just for SydneysBuzz
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Block Doc Workshops in Los Angeles February 2013
The International Documentary Association will be hosting Documentary Funding and Documentary Tune-Up Workshops with Block on February 9/10. http://www.eventbrite.com/org/169037034
Mitchell Block specializes in conceiving, producing, marketing & distributing independent features & consulting. He is an expert in placing both completed works into distribution & working with producers to make projects fundable. He conducts regular workshops in film producing in Los Angeles and most recently in Maine, Russia and in Myanmar (Burma).
Poster Girl, produced by Block was nominated for a Documentary Academy Award and selected by the Ida as the Best Doc Short 2011. It was also nominated for two Emmy Awards and aired on HBO. He is an executive producer of the Emmy Award-winning PBS series Carrier, a 10-hour series that he conceived & co-created. Block is a graduate of Tisch School and Columbia University’s Graduate School of Business. He is a member of Academy of Motion Picture Arts & Sciences, the Television Academy, a founding member of BAFTA-la and has been teaching at USC School of Cinematic Arts since 1979. Currently Block teaches a required class in the USC Peter Stark Producing Program. ______________________________________________________________________
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- 1/8/2013
- by Mitchell Block
- Sydney's Buzz
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