Wednesday, December 1, 2010
Writing for a readership that primarily includes event videographer/filmmakers, Nathans-Kelly asks, "And why should this book matter to you...? For several reasons. One is that the line between event filmmaking and other filmmaking genres is increasingly blurred as event filmmakers continue to absorb influences from outside the event world, as tools and filmmaking techniques converge, and as event filmmakers aspire to achieve the same sort of impact with their event films that the best documentarians do. Another reason is that for most of us in this industry, shooting events is only one of the things we do; we’re also doing corporate and commercial work, legal videography, biography films, or other types of video production that edge us ever closer to the documentary world. What’s more, when many event filmmakers think about the movie they really want to make, outside of the commissioned work that’s the lifeblood of their businesses, that movie is a documentary on some topic of great personal significance. The information and techniques presented in Bernard’s book may well fill the gaps (probably sizeable, but manageable) between the technical chops they’ve developed in their event work and the storytelling techniques they’ll need to master to produce the feature they aspire to create."
Read the entire review at: http://www.eventdv.net/Articles/ReadArticle.aspx?ArticleID=72060.
Monday, August 23, 2010
Friday, August 20, 2010
The app is available from Untravel Media. (See also Ryan Gilbey's article for The Guardian: "The first film made for the iPhone: Is this the start of a whole new cinematic genre"?)
Thursday, August 5, 2010
"The Internet and other digital media offer an unprecedented opportunity for creators to reach consumers and for people to watch and read what they want, when they want," notes the Writers Guild of America, East, in demanding that the Federal Communications Commission and Congress NOT allow the Verizon-Google deal to move ahead.
Should it pass, they warn, "the Internet will resemble television and the movies: completely dominated by a handful of multinational conglomerates that decide what the public will watch based, not on the quality of the programming, but on the margin of profit." READ THE FULL ACCOUNT.
Sunday, August 1, 2010
"Many books focus on the post-production side of the process. Also, some great reference books exist for documentary moviemaking classes. We recommend two of them, both of which look at the whole picture of documentary moviemaking:
Directing the Documentary, *Fourth Edition (Paperback) by Michael Rabiger
Documentary Storytelling for Video and Filmmakers by Sheila Curran Bernard"
Thanks! (Link: http://images.apple.com/education/docs/Apple-Moviemakingcurriculum.pdf)
Saturday, July 24, 2010
Monday, July 19, 2010
Documentaries -- to outsiders -- offer a parade of facts on screen. They're those 5th grade film strips that taught hygiene or bicycle safety; they're the aggressive recitation of carefully-chosen facts that provide additional ammunition to people who've already formed an opinion; they're the bland presentation of information -- about history, science, people, places, you name it -- in an order that is factually dutiful and creatively dull. No matter how interesting the basic subject matter is, if this is what you think a documentary is, the film you make will be the equivalent of a stranger's home movies.
But this is not what today's best documentaries -- or yesterday's, for that matter -- are.
Documentaries are movies that draw strength from a simple contract between filmmaker and audience, that what is being presented as the truth -- and the evidence used -- are both honest and true.
Documentary filmmakers are artists -- skilled, seasoned artists -- whose palette includes the tools of both journalism and drama. They shape stories, rather than invent them. Watch Alex Gibney's Gonzo, or Ari Folman's Waltz with Bashir, or Deborah Scranton's The War Tapes. Tune in to Frontline or Nova, and try not to get sucked in by the content but instead to watch the craft. Better yet, watch it once for content, and three or four times for craft. Look at where the film starts, how it's structured, how it's "cast," what themes it illuminates and explores. Look at how the filmmaker shows rather than tells. And if you don't know what that means -- study drama. Playwriting, screenwriting, creative nonfiction, narrative journalism, fiction, short stories.... The answers are there.
Saturday, March 27, 2010
Gerrymandering, edited by Sam Pollard (directed by Jeff Reichert) - Discovery
Earth Made of Glass, directed by Deborah Scranton (trailer is here) - World Documentary Feature Competition
Untitled Eliot Spitzer Film, a work in progress directed by Alex Gibney - Special Event
Friday, January 15, 2010
PIH has been on the ground in Haiti for more than 20 years, creating a revolutionary model for health care delivery that’s since been implemented in locations as diverse as Roxbury and Rwanda. (PIH not only treats patients, but also sets out to “alleviate the root causes of disease in their communities, and to share lessons learned around the world” -- http://model.pih.org/model. As another of their web pages notes: “When a person in Peru, or Siberia, or rural Haiti falls ill, PIH uses all of the means at our disposal to make them well—from pressuring drug manufacturers to lobbying policy makers, to providing medical care and social services.”)
PIH was created by doctors Paul Farmer and Jim Kim, and was written about in Tracy Kidder’s extraordinary book, Mountains Beyond Mountains. (See Kidder’s op-ed piece in the January 13 New York Times, http://www.nytimes.com/2010/01/14/opinion/14kidder.html.)
The Partners in Health hospitals were far enough from the epicenter to avoid damage, and as early as Wednesday were receiving patients; see this article in the Boston Globe; see also this clip, http://standwithhaiti.org/haiti/news-entry/tracy-kidder-on-the-rachel-maddow-show-video/
I have nothing but admiration for this organization, and urge you to consider donating.