Coffee and Celluloid

The State of the Documentary [Panel]

Posted July 15th, 2008 at 10:15 am by C47

Below are my notes from the one panel I attended at Full Frame - The State of the Doc. It’s a little more cheerful than Mark Gill’s outlook on independent cinema, though re-reading this now, some panelists seemed to be predicting what was going to happen.

It was moderated by Liz Ogilvie of Docurama Films. On the panel was Nancy Abraham (HBO Documentary), Christopher Black (Starz Entertainment), Greg Kendall (Balcony Releasing), David Laub (THINKFilm), Tom Quinn (Magnolia Pictures), Molly Thompson (A&E IndieFilms), and Thomas Zadra (Netflix’s Red Envelope Entertainment).

Q: How do you define success in broadcast TV?

HBO - Good ratings, reviews, press, buzz, recognition.

A&E - Docs are ratings challenged. We try to launch them theatrically to get the branding out there, make people aware of the film for television. Considered successful if financially we break even.

Magnolia - Bad Box Office for docs in 2007. Magnolia had three high profile releases - Crazy Love, My Kid Could Paint That, and In the Shadow of the Moon. Other outlets have proved successful. Cocaine Cowboy is one of the top selling films on X-Box. The new strategy is to marry content with distribution.

Starz - Starz makes docs for their film library. Create events to help branding. Lots of press is low cost.

Balcony - King Corn’s (doc about the farming industry) filmmakers sold the DVD through their site for $29.95 (cheaper now) and had community screenings for $300 and did very well. People want to see films with their community, not at a theater (I think this was meant more towards small towns). There’s a separate group of people that buy online than in the store.

Red Envelope - Their software can determine how many people want to watch since the films are on Netflix and determine the price. Since Red Envelope was formed, they have 125 titles. 40%-50% are docs.

Q: Do you think audiences are consuming films differently?

Balcony - Some like films in the theater, on TV, the web, community screenings. You get more coverage in the NY Times when you open on Wednesday.

A&E - If a film doesn’t get enough Box Office the theater can kick it out.

Magnolia - The state of specialized films is depressing. We’re all generally screwed. The theatrical experience is unmatched. To survive, we need to learn how to do it differently.

Red Envelope - In four months, Helvetica was seen 120,000 times. Half were streaming through Netflix.com.

Starz - Primary goal of documentaries is to pay off credit card debt and fund the next film. Theatrical release is an unhealthy obsession.

Balcony - Many films shouldn’t be in theaters. It’s a waste of everyone’s time. Not being in theaters feels like a failure, but that might be the right thing to do. Filmmakers always want it, that’s why they made the film.

Q: What do you see changing in the future?

A&E - Social networking growing. Bring people that have a common interest in films together (Facebook).

Magnolia - Theatrical experience is broken. We put a lot of Jesus Camp clips on YouTube, but that backfired, because then people didn’t need to see the movie.

Balcony - Make theatrical an event. One night only. You can make more money in one night than a week. We need to convert the theatrical system.

Audience Questions

Q - How can you get a deal in pre-production?
A - Generally depends on the subject, filmmaker, and if there’s that money shot (Antarctica for March of the Penguins). Typically docs are bought after they’re done.

Q - Thoughts on aesthetic quality. Concerned about viewing docs on iPod?
A - The ability iPods provide to watch during commute are great. One panelist saw 8 people watching content in the subway. Certain forms are better for iPod, while some are better on the big screen. More choices bring a larger audience, which is the end goal.

If a film works on a 3″ screen, you know it will work anywhere.

Q - Biggest mistake films make?
A - (Sort of a round robin of replies):

Not writing name and phone on DVD
Go for best quality you can afford. Sometimes stuff is turned down because quality doesn’t meet standards.
Picking subject that doesn’t sustain the length.
Not pushing hard enough. Push the subject.
Being too long
Subject covered a lot of times before
Unrealistic expectations with music licensing.
Not enough stills for Press Kit
High Quality (True HD) if possible
Follow the delivery schedule companies have. Missing a few elements can make a film unreleasable.

Q - Thoughts on short docs outside festivals.
A - Other options include iTunes, attachment to Op-Eds on NY Times site. Many documentarians with similar subjects/themes can ban together and offer one package with a bunch of shorts, perhaps on DVD.

Moment of Zen

If you want to avoid piracy, make a bad movie.

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Posted in Documentary, Film Business | 1 Comment

Dinner and Confessions of a Shopaholic

Posted May 7th, 2008 at 10:39 am by C47

Here’s a story that combines a little six degrees of separation with a hint of networking. I was having dinner last night with my mom at Oriente on Ocean Drive. Across the street, near the beach, we noticed some giant tents set up - looked like some sort of party. But I noticed a sign that read ‘Crew Only.’ And then I saw one of the trucks had ‘MOO-V-FOOD‘ on its side. I knew what this was.

After an awesome meal of Sea Bass and Tuna Steak, we walked over to see if my mom knew the off-duty officer (She works at the police department. If you were wondering.).ï¿½

She did, and the Captain informed us this was craft services for Confessions of a Shopaholic. They were shooting ï¿½a few blocks away, and he told us we should check it out.

We went over to Espanola Way, where they were filming. I didn’t see any big grip trucks on the street, but as soon as I saw the power cables leading in I knew this was the spot. Just follow the cables.

Before I knew it, we were right in the middle of the set. No barricades, no PAs stopping us, no “Hot Set” signs. I didn’t even see that many crew members. I felt like I could have been on a Film School set (except for the Panavision camera, Fischer dolly, and giant Airstar lighting balloon, pictured above).

Our friendly Miami Beach Police Captain later joined the set, along with the President of Film Florida, who happened to be at a Florida Film event I went to at the Capitol a few weeks ago.

The Captain informed us that this was the most disorganised shoot he’s ever seen. This was their last leg. It was supposed to be a 14 week shoot. This was week 16. The original budget was around $40 million. Now they’re up to $70. The entire crew and equipment was brought in from New York.

In my mind this makes me cheer for the Film School and all the well run sets I’ve been on, as well as hope that we’ll survive, and hopefully thrive, once we’re in the real world.

But here’s where six degrees comes in. Burn Notice films in Miami, and the Captain works off-duty for that show as well. After my mother did what all proud mothers do, and inform everyone within ear-shot that I’m in film school, the Captain got me in touch with Melanie, the Location Manager for Burn Notice, to see if I could be a PA.

I gave her a call. She was super nice, but thought I was in Miami for the entire summer. Since I’m only here for a few days, getting on the payroll would be tough ($125 a day), but she invited me out to the set this Friday to go around and meet everyone. They’ve converted the Coconut Grove Convention Center into a sound stage.

To add one more degree to this story, they’re shooting next to Marley & Me, which is wrapping Friday, and the Key Grip on that show is a Film School grad. So Friday should be a pretty awesome day.

Now I need to work on my “What do you want to do?” response and educate myself on Burn Notice.

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Posted in Film Business, Production, Set Anatomy | 3 Comments

From Presentation Zen to Filmmaking Zen

Posted April 30th, 2008 at 12:37 pm by C47

I like presentations. Let me correct that. I like good presentations. People seem to have finally woken up and realize that good presenting requires a good story (and no bullet points).

Presentation Zen, both the book and blog, utilize the visual power PowerPoint/Keynote provide to make presentations better.

Of course you don’t have to be a Venture Capitalist to pick up a few useful tips. Here’s what a filmmaker can get from Garr Reynolds’ insight:

Planning Analog (45)

“As wonderful as digital technolog is, I don’t think anything is as quick, easy, and immediate as a simple pad and pencil, and nothing gives me sapce to jot down ideas quite like a massive whiteboard.” (47)

As pretty as a nicely formatted Word Notebook outline, or bubbl.us mindmap looks, a pad of graph paper (I like to draw in the boxes during blocks) and a Sharpie are my outlining tools. Bottom line: plan with pen and paper, post-its, or whiteboards. Not software.

What’s your point? Why Does it matter? (62)

This should be something that’s always in the back of your mind, from the big picture (why is this documentary important?) to the minute detail (do we need to see her walk in the door and up the stairs, or just cut to the office?)

Dakara Nani? So What?

Is your point relevant? Every shot needs to matter.

“It may be cool, but is it important to further your story, or is it included only because it seems impressive to you (but few others)?”

Elevator Test

“You run into an executive in an elevator. Or your meeting is cancelled and he needs you to describe your project as you walk to his car. Can you get your message across in 30-45 seconds.”

I’ve seen many pitches last longer than the film they’re talking about. Keep it simple. Stupid.

What Makes Ideas Stick? (76)

I’ve talked about my love of Made to Stick during documentary editing. You need to read it. I need to buy it (it’s that good). The six points are:

Simplicity
Unexpectedness
Concreteness
Credibility
Emotions
Stories

Kanso, Shizen, Shibumi (107)

This is Zen for design. For filmmakers/marketers, this is Zen for your posters.

Kanso (Simplicity)

Beauty and visual elegance are achieved by elimination and omission.

Shizen (Naturalness)

Keep it simple.

“Graphic desingers show restraint by including only what is necessary to communicate the particular message for the audeince. Restraint is hard. Complication and elaboration are easy…and are common.”

Shibumi (Elegance)

The original ‘less is more.’ Don’t spell everything out - leave stuff up to the imagination. Be suggestive rather than the descriptive or obvious. Embrace empty or negative space. Elimate the nonessential.

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Posted in Marketing, Producing, Screenwriting | No Comments

Disney and Universal in 4-D!

Posted March 21st, 2008 at 7:42 pm by C47

Last week, to end spring break, some Film School friends and I met up at Universal Studios for a day of Florida Resident Discount thrills. I’m more of a