Beruflich Dokumente
Kultur Dokumente
ISBN 9781615932771
Pub date: October 1, 2017
Price $26.95
Pages: 258
Michael Wiese Productions
We believe in the power of film to inspire social change.With this book,
emerging filmmakers now have a resource to help them develop engaging
stories and tools to help activate audiences around the world.
David Linde, CEO, Participant Media
Films can have such a profound impact on how we view the world and they
can truly create everlasting, positive change. This book will help you create
a blueprint for empowering action.
Morgan Spurlock, Academy Award nominated filmmaker: Super Size Me;
POM Wonderful Presents: The Greatest Movie Ever Sold
I have never seen anyone handle a wider variety of demands with more
grace and skill than Jon Fitzgerald. He has earned the respect and support
of everyone involved with the film community. This book is a great tool for
filmmakers to produce and distribute projects that can make a difference
in the world.
Steven Soderbergh, Academy Award winning filmmaker:
Traffic; Erin Brockovich
Filmmaking has become the most powerful weapon in the world, what I
call a weapon of mass construction. Filmmaking for Change is this new
movements instruction manual.
Louie Psihoyos, Academy Award winning filmmaker:
The Cove; executive director, Oceanic Preservation Society
Its hard to say exactly how to make a documentary, due to its unpredictable
nature, but Filmmaking for Change manages to give useful tips, as well as
touch on the very important aspect that should be focused on from day one:
How do I get my film actually seen once it is finished (distribution)? As
someone currently filming a documentary, this was exactly the kind of book
I was looking for!
Erin Corrado, onemoviefiveviews.com
FilMmaKiNg
For
cHaNGE
2nd
ed
M A K E F I L M S T H AT T R A N S F O R M T H E W O R L D
JON FITZGERALD
Published by Michael Wiese Productions
12400 Ventura Blvd. #1111
Studio City, CA 91604
(818) 379-8799, (818) 986-3408 (Fax)
mw@mwp.com
www.mwp.com
Manufactured in the
United States of America
ISBN: 9781615932771
CONTENTS
SECTION I DEVELOPMENT
1 T H E P OW E R O F F I L M 7
The Open Road Calling all Storytellers10
The Shift is On Time for Transformation13
2 D O C U M E N TA RY S T O RY S T R U C T U R E 16
The Call to Action Real to Reel20
The Finances Green to Green24
3 N A R R AT I V E S T O RY S T R U C T U R E 3 4
The Stories From Facts to Fiction40
The Finances Shaking the Money Tree44
C A S E S T U D I E S : D E V E L O P M E N T 49
SECTION II PRODUCTION
1 P R E - P RO D U C T I O N 6 5
The Crew Get Set!76
The Final Prep Go!81
2 P RO D U C T I O N 8 8
The Non-Fiction Film Documenting Reality91
The Narrative Filming Fiction95
3 P O S T- P RO D U C T I O N 1 0 0
The Work Flow Sculpting the Work101
The Final Package Delivering the Elements110
C A S E S T U D I E S : P RO D U C T I O N 1 1 3
2 P L AY I N G T H E F I L M F E S T I VA L C I RC U I T 14 0
The Submission Strategy How to Join the Party142
The Process Get Your Dance On150
3 D I S T R I B U T I O N 1 5 4
The Hybrid Strategy A Paradigm Shift166
4 A C T I VAT I O N 1 7 1
The Execution Putting the Plan into Action175
The Impact Measuring Change181
C A S E S T U D I E S : M A R K E T I N G & D I S T R I B U T I O N 186
In Conclusion197
R E S O U RC E S 1 9 9
Glossary of Terms200
Sample Budget203
Finishing Funds Campaign Front the Back Nine205
Fundraising Sample The Back Nine Keynote206
Sample Survey215
Sample Press Kit The Highest Pass218
10 Keys to Playing the Festival Circuit226
Host Your Own Screening Sample230
Delivery Requirements240
About the Author244
H OW TO U S E T H I S B O O K
viii
that calls for change, which led to the writing of this book. Therefore,
whenever applicable, I have included examples from my work on
these films. These Authors Notes will be in italics for the purpose of
simple identification.
In addition, there are a number of industry terms used through
out the book, and I have put them in bold to indicate that a definition
can be found at the back of the book in the Resources section under
Glossary of Terms.
Finally, there are some terrific documents, articles and templates
for you in the Resources section at the back of the book. These tools
apply to various stages of the journey that is filmmaking. Some film
makers may have been thinking about making a movie for some time
and just need this extra push, or the right resource. Others may have
already started the process, or have the film in the can but are seeking
some final words of wisdom before they bring the film to the world.
Wherever you are on this path, please see Filmmaking for Change as a
support vehicle. Audiences are waiting with open eyes, looking to be
engaged, and ready to take action.
ix
Introduction
I was in grade school by the time I got my first real taste of a socially relevant
movie. I saw To Kill a Mockingbird, with my class. This was heavy,
dealing with issues of rape, racial inequality and gender roles. As evi
denced by the fact that this movie, and of course the book from which
it is based, is taught in classes all over the world, there must be some
thing substantial between the lines.
Then in college, the year I declared my major in Film Studies, I
saw The Thin Blue Line (1988). Theres no denying that director Errol
Morris acclaimed documentary made a difference. Its the story of
Randall Dale Adams, a man who was wrongly sentenced to death for
the murder of a Dallas police officer. Adams was eventually given a
chance at a retrial, acquitted of the murder charge, and given back his
freedom.
Cut to 1999 and the movie that took the cause movie to another
level, An Inconvenient Truth. Whether or not you agree with his prem
ise, theres no denying that former Vice President Al Gores film about
the possible dangers of global warming became a cultural phenome
non. In addition to being the fourth-highest grossing documentary in
U.S. history, An Inconvenient Truth is credited with raising awareness
of the issue around the world and helping to make climate change
a major subject of debate in subsequent political campaigns. What
participant media did with this film, and many others, was to really
connect the dots between the issues and the causes they support,
1
Filmmaking for change
. . .
2
introduction
3
As the Cause Cinema genre becomes more defined, along with
the expanding distribution platforms, it will become more import
ant to mobilize impact campaigns. Inspired audiences want a clear
path so they can join the movement. For this reason, I have added the
Activation section to this 2nd Edition. Social impact films are made
with a goal in mind. Our challenge is to share engaging stories that
cause action, which then leads to measurable results. Lets demon
strate how these films can truly help transform the world.
SECTION I
DEVELOPMENT
If you want to send a message, call Western Union
Samuel Goldwyn, MGM
5
1
THE POWER OF FILM
T H E H E R O S J O U R N E Y A PAT H W I T H P U R P O S E
7
Filmmaking for change
the escape factor has always been a key part of the draw, and the psy
chological effects of the communal theater experience is significant,
motion pictures have demonstrated their ability to transcend pure
entertainment. Many studio and independent pictures have inspired
us to take a closer look at ourselves, the issues and other cultures in
the world around us.
Motion pictures produced in the early 20th Century were primar
ily about real people, dealing with real issues. We didnt have special
effects as we know them today. Fiction or not, audiences connected
with the stories on a tangible, personal level. For the narratives to be
compelling, they had to have engaging characters doing things that
members of the target audience could connect with. They had to share
emotions we could relate to in our own lives. One of the early film
pioneers, DW Griffith, created Birth of a Nation (1915), demonstrating
a remarkable emotional power. It was the first film to be taken seri
ously as a political statement and it has never failed to be regarded
seriously as a sociological document. People who had previously dis
missed the movies as nothing more than crude entertainment sud
denly realized that they had become the centurys most potent and
provocative medium of expression . . . mass communication, mass
entertainment and also the possibility of mass indoctrination, said
historian Harry Geduld.
During the Golden Age of Hollywood, considered by many to be
the late 1920s to the early 1960s, the studios churned out thousands
of films, in numerous genres. They built a very profitable industry,
with commerce winning out over art. Studio executives didnt openly
embrace the idea of producing movies with any social relevance, sto
ries with purpose. Studio pioneer Sam Goldwyn once said, If you
want to send a message, call Western Union. It is clear, however, a
number of movies presented audiences with important issues of
their day, sharing relatable themes and often a taste of their history.
Whether this was a primary intention, or they refused to admit it, stu
dios did give audiences a fair share of meaningful pictures.
8
THE POWER OF FILM
As you will see in the pages that follow, in the golden age of
Hollywood, many of the most successful films at the box office were
also the most critically acclaimed. The filmmakers running the stu
dios at the time had a pulse on the audiences of the day. Many of
the films were based on books, but the storylines hinged on historical
context, such as Gone with the Wind and All Quiet on the Western Front.
And while the source material broadened, and the studio system con
tinued to evolve, it wasnt until the advent of the studio blockbuster
that the industry started its downward spiral. The percentage of pres
tige pictures gave way to formulaic studio fare.
Good news, bad news. Always the bad news first. Once the stu
dios began trying to find the next blockbuster, and produce the next
remake or reboot, their efforts to support the more difficult, mean
ingful movie was greatly reduced. The good news is that a number
of independently produced films found their way into the multiplex.
From An Inconvenient Truth (2006) to Precious (2009), a number of
wonderful, meaningful pictures found their way to the screen, and
thanks to Amazon, iTunes, Netflix, evolving VOD platforms and the
growth of online exhibition, more of these cause-related pictures are
finding audiences than ever before.
With films produced by companies like Participant Media and
released by distributors like Roadside Attractions, audiences have
learned more about the cultural and social issues we now face. Equally
important, a number of these films have had a direct impact on the
world around us. When Morgan Spurlock made Super Size Me (2004),
a public nutrition debate kicked into high gear and six weeks after the
film premiered, McDonalds announced that it was eliminating the
Super Size option from its menu. Hows that for the power of film?
In tracking this specific sub genre of food and nutrition, for exam
ple, we had Food, Inc. (2008) from Participant Media and Food Matters
(2008), followed by Forks Over Knives (2011), which spawned many
ancillary business lines. More than a dozen popular food docs graced
the digital platforms in the past few years, with Food Matters launching
9
Filmmaking for change
T H E O P E N R OA D C A L L I N G A L L STO RY T E L L E R S
10
THE POWER OF FILM
11
Filmmaking for change
over three million at the domestic box office, and demonstrated once
again how you can make an entertaining film for very little money.
The prize for the biggest success, in terms of cost to revenue ratio,
belongs to the Blair Witch Project (1999). This little movie was shot for
under $30,000. Of course, it ended up costing over $400,000 to fin
ish, with another 25 million put into prints and advertising budgets,
but the franchise has generated over 500 million in revenues.
While these films dont fall into the cause film bucket, they repre
sented a significant movement for independent cinema and demon
strated what can be done with very little money. These films spawned
a new generation of filmmakers, as independent artists came out of
nowhere to make movies. We saw a proliferation of film programs in
colleges. And while some emerging filmmakers learned the hard way
that this business was not for them, this low barrier of entry enabled
many true artists to find their calling. Documentary filmmakers cer
tainly took notice.
As we moved into the new millennium, a number of quality
non-fiction filmmakers came to the forefront, and one of the more
unique talents was Morgan Spurlock. He had learned of two over
weight kids suing McDonalds. In their suit, they argued that they had
become obese as a result of eating McDonalds food. They ultimately
lost the lawsuit, but Spurlock decided to make a movie on the subject,
documenting the effects of eating only McDonalds for 30 days. The
result was Super Size Me (2004). He wanted to explore the psycho
logical and physiological effects this food would have on him person
ally, as well as how the fast food industry continues to encourage poor
nutrition for its own profit.
Not only is this an entertaining and award-winning documen
tary, but it was shot for less than $64,000, using a Sony DSR PD150
(which you can buy for less than $1,000). The movie went on to gross
over 11 million dollars theatrically in the U.S., and over nine million
in foreign markets. While the movie brings up some major issues,
from corporate greed to Americas problem with obesity, it once again
12
THE POWER OF FILM
With a good idea, and the right team, you can develop a storyline
and put the project into production. It will take a great deal of time
and commitment, but its a small price to pay to make a difference
in the world. With such low barriers to entry, the time is now to take
that leap.
T H E S H I F T I S O N T I M E F O R T R A N S F O R M AT I O N
Now, more than ever before, audiences are seeking characters they
can connect with, heroes they can relate to, cultural revelations. With
obstacles that include the economy, a deteriorating environment, and
issues of human rights just to name a few, filmmakers have captivat
ing, important, and relevant subjects to explore.
Audiences are also looking for correlations to the environment.
They want to know what is happening in the world around them, and
why. There is a reason why cause movies are in demand. People are
looking for answers. And lets face it, charities and causes are in vogue.
There were over 250 billion dollars in charitable donations in 2011,
13
Filmmaking for change
and 373 billion in 2015. Studies show that more than 83 percent of con
sumers polled want to contribute to companies who give back to char
ities, or where a percentage of their purchases goes to worthy causes.
Corporations are starting Cause Marketing divisions, and financing
sweepstakes with money and prizes going to causes. People are finally
getting altruism, and even more studies show that giving makes peo
ple feel good. Imagine that! Charity is no longer an obstacle. Its an
opportunity. Whatever angle you want to play, its clear. People want to
make a difference.
From a filmmaking and storytelling perspective, reporters are
talking about how news content is shifting more and more towards
video content. Authors are writing about how business slogans and
pitches need to be more like stories, and A-list producers are look
ing for more meaningful movies. Finally, entrepreneurs like Jeff Skoll
(Ebay) created Participant Media and Ted Leonsis (AOL) coined the
term filmanthropy, launching online documentary site SnagFilms.com.
CauseCinema.com will be the cause portal, guiding audiences to
the best in social impact cinema, connecting movies to related causes.
Hell, if they can make dark crime dramas in the 1940s and 50s, from
stories that emerged in the U.S. during the depression and call it Film
Noir, why cant we create a new subgenre for our time? Cause Cinema
represents the socially relevant films of the day, with the stories being
connected more directly the causes they support. If were living in the
golden age of the documentary, now is the time to coin the term, as we
all welcome the opportunity to use film to affect positive change.
14
T H E P OW E R O F F I L M
SUMMARY POINTS
For less than $5,000, you can acquire the minimum tools
needed to make a powerful film.
EXERCISES
1 Watch one of your favorite films from the past and see if you
can identify elements of the heros journey and how character
traits or points made throughout the film relate to your life.
2 Consider any movie that won the Academy Award for Best
Picture, and see if you can articulate to a friend or on paper
the message of the movie.
15
2
DOCUMENTARY
STORY STRUCTURE
T H E H I S T O R Y TA L E S O F T R U T H
A few years after DW Griffiths Birth of a Nation (1915) and the simultaneous
development of the Hollywood studios, a genre dubbed the narrative
documentary, was taking shape. By their very nature, these non-fiction
films provided a glimpse into other cultures and issues of the world.
Robert Flaherty, for example, became interested in the harsh lives of
the Eskimos of the Belcher Islands. After living with an Eskimo family
for fifteen months and filming their daily lives, he edited the footage
into a feature documentary entitled Nanook of the North (1922). The
film achieved great critical and commercial success.
Another documentary, Grass (1925), highlighted the extreme
hardships faced by nomadic peoples, as well as the bravery and inge
nuity of the Bakhtiari. At the same time, the film is also a reflection of
the context out of which it emerged, that of Hollywood in the 1920s.
The central concern of Grass is to present primordial human struggle
with harsh environments, as in the Nanook of the North. Like Nanook,
the filmmakers attempt to document timeless and ancient human
struggles.
16
DOCUMENTARY STORY STRUCTURE
17
Filmmaking for change
18
DOCUMENTARY STORY STRUCTURE
19
Filmmaking for change
T H E C A L L TO AC T I O N R E A L TO R E E L
So you want to make an engaging film; tell a story that will make a
difference in the world. Now what? If you already have a subject mat
ter or an idea to explore, you are ahead of the game. If not, where do
the ideas come from? There are a number of resources to help you
find the idea you really connect with. Whether its surfing the net for
compelling characters, stories or causes, or going a more traditional
route of perusing publications (books, newspapers or magazines), the
ideas are out there.
Perhaps you know an issue you want to explore, such as education
or the environment. If so, whats the angle? Do you have someone in
mind, a hero to anchor the story? It all comes down to telling an
interesting story. One of the most successful television shows off all
time is 60 Minutes. When the founder, Don Hewitt, was asked how
they decided what segments to produce, he said it was pretty simple:
Tell me a story. Yes, they made good choices about their subjects and
had the journalistic experience to present the stories in compelling
way. This is just an example of just how important story is.
Often times, news content presents the core idea for a good movie.
They can even present a rich and detailed history that provides much
more than just an idea. Is the story already connected to a cause or
are there themes you can easily connect? Publisher GOOD is a great
resource (https://www.good.is/), as is www.causes.com.
There are literally hundreds of categories that have subcategories;
and many real people with real stories to tell that can inspire audi
ences to take action. Here are some to consider:
Education
Environment (Ocean, Pollution, Nature Preservation)
Human Rights
Inspiration
Animal Rights
20
DOCUMENTARY STORY STRUCTURE
War
Health (Cancer, Aids, Autism, TB, Depression, Obesity)
Arts
Political
International Issues
Children
Homelessness
Water Crisis
Once you have a subject, category or idea, there are other key factors
to consider, including:
21
Filmmaking for change
Having a goal for the movie may seem obvious. You want to make
a movie that tells a great story. One that manages to raise awareness
of an issue. Bring attention to a subject. Get people to take action.
These are all great ideals. Ive talked to a few filmmakers who have
been fortunate enough to work on some amazing documentaries; and
when I asked about next steps, or their call to action, they say, Im a
filmmaker, and am onto my next movie. Surprising, yes, but it cer
tainly helps to know your purpose, and your strengths. If making the
film is a gig, the activation of a movement may not carry the same
weight. This is where your goal for the project comes into play. Are
there specific goals? Targets? Do you want to get a law passed? And
who is paying for the project? Do they want their money back, or is it a
donation for the greater good? These are all questions, many of which
will be addressed in the Activation section of Part III, but they key is to
start with the end in mind . . . right from the beginning.
When I started working with Jill Wheeler on Warrior One, she was already
providing support for groups and individuals in the category of empowerment
and leadership, primarily working young girls and women. She had dreamed
of taking a team of girls into nature, incorporating what she calls adventure
therapy. Jill also knew how the power of film could inspire other kids seeing
the movie to think differently about themselves, find more positive influences,
and find their path to become leaders in their own right. The intention was
always to be able to show the movie to kids, to present it in schools and screen
for organizations. By seeing these underprivileged kids go through a training
program that culminates in a trek in Peru, to the peaks of Machu Picchu,
viewers are inspired themselves.
22
DOCUMENTARY STORY STRUCTURE
make the most sense for your movie; and it may prove counterpro
ductive to your primary goal. Are you thinking National Geographic,
Discovery Channel, or HBO? If your goal is to get the film on HBO,
one of the more prestigious networks, you should know that as of this
writing, they only buy 38 documentary features a year. And in 2011,
there were over 2,000 documentaries madethat we know about!
The point of this exercise is to consider the playing field. If you
have an important story to share, a message to get out there, you can
make it happen; but you have to be realistic. Dream big, but manage
expectations. Are you content to play the festival circuit and sell your
DVD on Amazon (which virtually anyone can do)? Or do you have
higher aspirations for the film? For example, I would argue that film
festivals have become a form of distribution for many documentaries
(and narrative films, for that matter) that would not otherwise find
them. Some films play dozens, or even hundreds, of festivals. Do the
math. Thats a lot of people, seeing your movie, on the big-screen.
And you wont have to spend 30 million dollars (the current studio
average) to put those cheeks in seats. BUT you dont make any money.
Then again, cause based movies arent about money. They are about
creating awareness, sharing issues, with and for audiences, inspiring
them to take action.
Which brings us to the next point. Know your audience. Again,
you just may be passionate about a person, cause or story and are
committed to getting it made. But you have to know going in whether
there is a legitimate core audience for it. Of course, you can buy your
self a Canon 7D for a mere fifteen hundred bucks, use your iPhone,
or hire a cameraman who will work for free for the credit and shoot
your movie. But if you want more than your friends and family to
see it, you need to do some research about the core audience you are
trying to reach. There are many ways to target that core audience (see
Section III), and if the story is truly compelling, you always have that
chance of crossover to other, more general audiences. You are looking
for viewers to champion your movie, and hopefully spread the word to
the less obvious of audiences. Chances are if the story falls into one of
23
Filmmaking for change
the sub-categories listed above, you are well on your way; but you still
have to do some more homework.
This conveniently leads me to the next point. Commitment. If
you have already worked in the business, on a movie or perhaps even
made a film, you already know this idea is key to success. But for the
emerging filmmaker, I cant stress this enough. To do this right, to
develop the subject fully, produce the best movie and get it out into
the world, youre looking at an average three-year commitment. Sure,
you can interview your subject, put in some pretty pictures and slam
it together in Final Cut in a few weeks; but you will most likely never
fully realize your audience with that project. And lets remember why
you are reading this book in the first place. You want to make a movie
that can transform the world. You cant have an impact with your proj
ect if nobody sees it. So lets assume you are one of the filmmakers
ready to develop an amazing story, produce it in an informative and
creative way, en route to finding the widest audience possible. This
takes time, but its worth it. You will enjoy the process, a journey you
will never forget, AND you will make a difference in the lives of many.
So make sure you are totally committed to the idea before you take
the leap.
Were going to assume you are firing on all cylinders if youve gotten
this far. You have a general idea that its going to make a difference
in the world, one thats going to help us grow. You know there is an
audience and are willing to make the commitment. The next thing
you have to consider is the money. If you are very well off and are will
ing to risk putting money into an endeavor that may not fully recoup,
thats great. But if you are going to borrow from your family, take out
a second mortgage on the house, apply for some extra credit cards
24
DOCUMENTARY STORY STRUCTURE
Production Schedule
25
Filmmaking for change
Crew
Many docs are filmed by the director/producer, but given the oppor
tunity, its always best to have a trained Director of Photography (DP).
The same goes for sound. Ive seen directors plugging wireless micro
phones into the camera, and Ive done it myself. But the sound comes
out better with the right equipment and sound person. They know
how to test the levels and adjust for changing environments; and
sound is important to the overall production value of the project. Both
cinematography and sound are often taken for granted on indepen
dent film projects. And yes, with documentary, there are times when
the realistic look, cinema verite, can work to your advantage; but make
it a stylistic choice and not a bad result from lack of planning.
Post-Production
Will you be working out of an office, with the editorial team coming
in daily for a period of months? Will they do it out of their home? Will
you buy Final Cut and do it on your laptop? These decisions obviously
can affect the budget and the timing of post-production process. To
some extent, knowing what your intentions are with the final product,
in terms of distribution, will help to dictate this. Again, you can do
the home movie, post it on YouTube and share with friends model,
but were trying to affect positive change, right? So lets develop the
best idea, hire the right team and bring it out to world. If with widest
distribution platforms possible is the target, then there will most likely
be lab costs (color correction, final mixing and tape/DVD) stock you
cannot avoid (again, see budgets in Resources section).
Deliverables
Back to the goal for distribution. If you plan to consider any combina
tion of the following, you will have a long list of different media types
26
DOCUMENTARY STORY STRUCTURE
Unlike the golf movie mentioned above, my next documentary (The Highest
Pass) had a set schedule and a set budget. The hero of the story, Adam
Schomer, brought us this amazing project with the dates and journey
already set. He pitched me the idea: A small team of riders followed Indian
yogi Anand Mehrotra on a motorcycle adventure through the Himalayas, to
the highest motorable road in the world (at 18,500 ft.). Oh, and the leader,
Anand, was carrying a prophesy given to him at birth that he would die
at the age of 27 in an accident. And yes, he was 27. The trip was already
planned. We had to reduce the original budget and make some crew changes,
but ultimately, we set the budget at $125,000 and booked our flights. Within a
few weeks, Adam was in India working with Anand on logistics for the riders
and finding some local crew to support, while I stayed in LA to finish prep. I
found a great DP (Dean Mitchell) who had experience filming with motor-
cycles. Dean and I pulled together the gear and headed for India for approxi-
mately three weeks of shooting . . .
Story Research
Before pulling the trigger on a project that will not only require major
commitment but have an impact on the community, you need to do
your homework. What films may have been made on the subject?
27
Filmmaking for change
28
DOCUMENTARY STORY STRUCTURE
29
Filmmaking for change
Myth and the Movies, your subject matter into such a structure. And by
written by Stuart
Voytilla. His books have the way, you can lay this out on a dry erase board,
been very influential
in the development on 3 X 5 cards or in Final Draft, just to give some
of many indie and
Hollywood mov-
structure to your shoot.
ies, and in our three However, know this throughout the develop
documentaries.
ment process: After filming, your movie will not
be what you expected it to be. The trick is to have
a goal, and know your core idea has purpose. All
you can do is prepare as much as possible. Do
your homework and enjoy the process. Develop
the key pieces of the story as much as pre-produc
tion will allow. Make sure you can afford to shoot
the movie you want and surround yourself with a
team of all-stars to help you get the best footage.
The production will take some twists and turns.
The better, more flexible and creative producers
welcome the curve balls and know how the story
can evolve far beyond what they ever expected.
Then in post-production, you will go forward
with a great editor, an open mind, and hours and
hours of great footage. Your movie will be made in
the editing room. This is where the fun starts, and
from there, its in the hands of the divine mother.
The cover of the The
Writers Journey, by
Christopher Vogler With all five documentaries, I used the books above
and the stages of the journey as structural guidelines.
As a festival director, I had seen many documentaries, and had also done
plenty of research on the growing demand for this film category. What became
clear was that many of the more interesting, and successful, documentaries
were actually structured more like narratives. They had a better flow than the
more traditional talking heads documentaries. Right or wrong, and there are
many different styles and tastes, I embraced this idea and integrated into my
docs. Here are some of these ideas put into practice:
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DOCUMENTARY STORY STRUCTURE
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Filmmaking for change
dance therapy. We learn her history, see her move to the U.S., and watch her
struggle to face her demons. Parashakti learns that she ultimately has to settle
the score with her past and her family in Israel before she can be liberated and
truly move forward in her life (a theme also prominent in The Back Nine).
In Warrior One, Jill mentored her heroes, providing the support and
structure to a program that would change their lives. They were all from
Florida and we would have an opportunity to work with the kids, and get to
know them and their surroundings before we all got on a plane to leave the
ordinary world and head to Peru. This helped establish the narrative struc-
ture, as we clearly moved into Act II when we left the U.S..
There was a similar case for The Milky Way, as our heroes established a
background of issues related to breastfeeding, and shared details about how
Americans were statistically poor at making it to the six-month month target.
To find out what was working better in other countries, many in Scandinavia
for example, where they rank in the 90s, the team boarded a plane and
headed to Europe to find out why.
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