The Documentary Producer - THE DOCUMENTARY PRODUCER

 

Amy Janes started her career as a documentary editor and producer at a small production company in Boulder, CO. Learning that the big power lay in the hands of the producer she returned to school gaining an MFA in Producing at UCLA.

 

Even before graduating she was approached by the president of Showtime (Jerry Offsay) to run the Feature department of his new Paramount Pictures / CBS based production company.

 

Her position there culminated with the production of AS SEEN THROUGH THESE EYES, a documentary about the art and artists of the Hollocaust. Made in association with The Sundance Channel and voiced by Maya Angelou the film will be released theatrically this Fall.

 

 

The Documentary Producer - Blessing that has built Maysles career.

More advice… He doesn’t take anytime to start shooting, he just jumps in… he has the confidence that he can gain his subjects’ trust and knows he will never betray that. Take Grey Gardens… Little Edie LOVED the film after seeing it and Big Edie said, on her death bed, that she had nothing else to say… it was all in the movie. It is all about staying true to his story and the subjects.  It is not about injecting his opinion into the film. His goal is to have his subjects say at the end “at least it’s honest.”

Contrast this with some of the more recent film and filmmakers such as My Kid Could Paint That. Amir Bar-Lev strayed from making a “Direct Cinema” film to an opinionated search for a truth that should have/could have been left up to the audience to decide. Does this film work? That is for you to decide.

All in all, there is an enormous amount to learn from The Master and in my final plug … check out his website at www.mayslesfilms.com.

This weeks recommendation – My Kid Could Paint That.

The Documentary Producer - Subjects are all around us… literally…

From Grandma’s neurotic dog Poker, to the Iraq War. With so many choices, how do you know when you have finally landed on a good one?  You test it.

As simple as that sounds, it is the best advice I can give. Remember! The key issue is here “What can I show?” about behaviors, interactions and situations all directly relating to your subject. This is a film, not a novel.

So, let’s say for instance you have found yourself incredibly passionate about the two above mentioned topics and just can’t decide which one to invest a your life into… Here are some guidelines that may just help you make a decision.

Drum roll please….

~ What do you want to say? This answer may change when you are knee deep in your subjects shit, but intention is your greatest device and ultimately intention will help to keep you focused. Know it now!

~ Can you paint a picture with your subject? A teacher once asked me if I thought my short doc could be viewed without sound. At first I didn’t get it, but over the years it has become crystal clear. People relate to other people’s actions, which awakens their own feelings. Simply put, words alone fall on deaf ears far too often.

~ Be wary of worlds you have never encountered before and are difficult to access (literally and figuatively).  Iraq is a distant place and most of us rely on other sources to acquire a general knowledge of the country. Grandma’s house is over the hills and through the woods and you have probably been there multiple times.

~ Avoid “typical” or “mundane”. The key is to find a character/situation that is totally unique who can become the portal to your message. And, we do have a message, right? Think long and hard about what you really want to say.

~ If there already a clear solution to the problem you are addressing? If so, your audience is probably already on to you…

~ Think BIG thematically. This is the best way to reach a large audience. Now this doesn’t mean the Iraq War piece is necessarily a better choice because it is already a big topic. Local or small subject matters, like Poker, can shine the light on a huge theme such as companionship in older age.

~ Finally, is this really something you want to eat, breath, drink and shower with for an undisclosed amount of time? A “Yes” is necessary here to travel any further. If not, go straight to jail and don’t collect your two hundred dollar salary. It is time to start over.

This week’s MUST SEE is Baraka. Go on, you tell me why.

The Documentary Producer - Now a days, anyone can make a movie.

The consumer has every tool at her fingertips. Chances are though, it’s gonna suck. Now hold on a hairy minute, I am not saying anything about you or your talent, necessarily, but modern day conveniences have made it too easy.

Tom, Dick and Harriet are out there pointing cameras every which way and taking their miscellaneous footage home to cut on one of those paper thin Macs –just cause they had to have one. I, personally, miss the days of the squawk box and moviola.

Today, I ran into an Ol’Time Producer in the elevator. And I couldn’t help but think to myself… either he really loves what he does or he has got himself into an uncomfortable position later in life where this is the only thing he knows how to do. My gut says the latter.

We got to talking and he remarked that “Things are peculating, but in this biz you can have a child faster than you can get a project up.” He then smirked and looked down at my stomach. Last time he had seen me I was in my best summer shape – tanned and relaxed.

I can’t help but feel a pang of empathy for him. He is completely reliant on other people and their subjective objective view. But yet everyday he goes to work, sits at a desk and takes “no” for an answer until that elusive “yes” pops up. He has been doing this for decades, maybe he is used to it. Maybe, not.

But what I so admire about him is that he has been through it and keeps coming back for more. He is a true warrior of the process.

Documentary Filmmaking is also a process. It is not computer software that has neat dissolves and cool effects. Please, remember that.

It starts with a subject, an idea… and requires ones full attention and focus. All the great documentaries have great subjects… And behind those lenses reside great minds that have enormous passion and respect for that which is being exposed.

This is Step One in Amy Janes’ guide to Great Documentary Filmmaking – for those of you that are paying attention – take note.

Next week, we will take a look at your subject and who, frankly, is going to give a damn.

But until the, go out and rent yourself THE FOG OF WAR by Errol Morris. You will see what I mean.

The Documentary Producer - A crossroad in my life as a Filmmaker…

This week I find myself at a really remarkable crossroad in my life as a Documentary Producer/Filmmaker…

Last week we secured a theatrical distributor for my most recently completed doc, As Seen Through These Eyes. What an awesome feeling! We will be opening in six cities across America and Canada. Sure not a huge release, but you know what… for a small film on the surviving art and artist of the Holocaust, I am going to say – NOT BAD!

And this week I am sitting at my editing studio sorting through hours of tape searching for that illusive through line for the next doc which I shot, directed and am producing.

I think I can hear you thinking… “Yeah, so what?” And my answer for that is “I don’t know.”  I guess I can only answer that question with another question - “Am I really ready to do this all again?”

Let me tell you… the ASTTE was no walk in the park. I was pregnant during the financing and breastfeeding during the post. Yes, I was that woman; sitting in the corner with breast pumps a-pumping asking my male editor not to turn around for twenty minutes so I could relieve myself. In some weird way, it was a blessing that I had to fire three editors (all male) before I figured out that my director could really only work with a woman pushing the buttons. (This goes back to my rant about one getting ones MD!)

“T” finally came into the picture and my inhibition went out the window. I was free to roam around the room holding two megaphones cupped to my breasts.  Ahh, that spells relief.

But … it didn’t make it any easier that I had to spend those three months up to my ears in footage of the most horrific images anyone could possible dream of, with a huge deadline looming and a director who was not mentally prepared to finish her film…

Get the picture?

Good. We can move on…

So now, here I sit - pregnant for the second time and as big as a house - about to give birth to a bouncing baby boy… and another documentary. You know, I don’t know which one is harder. Or what keeps me coming back for more.

Yeah, you’re right, it’s the kids we produce. And as they say – No pain, no gain.

This week my hat goes off to all you mothers and fathers out there who are sticking with this crazy BIZ we call LIFE.

Cheers!

The Documentary Producer - Part Documentary Producer, part Shrink

I will be so bold to say that the most important aspect of Producing Documentary films is the ability to be a Shrink.

Yep, you heard me right if you want to be a successful Producer – go get your M.D. For real! I believe I have an honorary degree from the University of Trial and Error, and by God, I deserve it! My day to day job requires pushing, prodding, building up and breaking down other human beings.

Sure, I am also responsible for the money.  But money one can commandeer quite easily, no?  $4 + $6 = $10. Or if you want to be a bit trickier $8 - $12 = -$4. And there you go. Easy. You might not be happy with the results, especially if you find yourself with the second equation staring you in the face. But the problem and solution become quite straight forward.

Not true when looking at the other side of producing films – managing your team.

So you have just assembled the team and, on paper, everyone appears to be on the same page. You, your director, your investor, your editor… you name it. Your baby has blue eyes. Check. Your baby has dimples and freckles scattered around her cheeks. Groovy. You all know your baby must have curly hair, but your investor sees it straight…

The soundtrack screeches to a halt.

You are about to sign the paperwork to employ your $1.2M budget and you hit your first major crisis. Your head tells you that you can deal with straight hair, maybe you can give her a perm when she grows up, but your heart better tell you something else. Experience told me to run.

Our most recent doc hit that hurdle and as much as it hurt, we split forces. (Another blog for another day) Why? Simple…

The editing room is your sanctuary. You must do everything possible, from selecting your investor to knowing your director inside and out, to ensure your editing room is a working, breathing entity.  You do not want the person who feels like they made the whole thing possible breathing down your neck with their own agenda.

Come on, you have an enormous amount of footage and no dictated script to follow. Sure, you wrote a script when you went out to shoot, but I am sure things changed and the unexpected reared it head multiple times. This is what makes docs so great!

When we walked away from the table I found myself beat up and discouraged, but within a few short moments, I sighed in relief. I wouldn’t be navigating through post production hell. No amount of money is worth that experience.

So off we go, knocking on more doors… convincing more people… but most importantly – staying true to our vision with the confidence we will know when to strike the deal.

This week’s doc to see – Baraka.  Sit back, relax, and be prepared to be amazed!

The Documentary Producer - The Mindset of a Documentary Producer!

So you are back here today because you are like me… nosey… interested in other people’s business and needing to know more about the world around you.

Welcome to the mindset of a Documentary Producer!

This inquisitive side lured me away from the fame and fortune of the narrative world and set me on a course of:

1. grant writing, to cobble together finances pennies to the Hollywood dollar…
2. credit card bills, cause those grants take FOREVER to get…
3. and years keeping the fire burning for this or that passion project that I have to make or else I am going to die!!!!!!

Ugh… so I there I am… resigned to the idea that I would die with a full Karma bank and an empty Piggy bank.

Until one day, almost ten years ago, I saw a film that changed my life and financial status forever… AMERICAN MOVIE. (If you have not seen this film, run, don’t walk to the nearest video store and pick it up!)

You see, American Movie has something that no other documentary film really had at that point – theatrical potential to make a lot of money. Pay attention and I’ll tell you why.

How to get a Documentary Film on the Big Screen 101

Lesson One: The Statement

For a documentary to play to a theatrical audience, and make money, the film MUST have a three act structure. This should be simple to see, but is too often disregarded…

You see, we, as movie-goers, have been trained by multiple, repetitive experiences to expect a three act structure when in the Movie Theater. And that is what keeps bringing us back for more; the experience of riding along with our hero, uninterrupted and larger than life.

American Movie is set up exactly for this. Don’t believe me… check out the numbers.
In 1999 it opened in two theaters. It played over the next twenty-five weeks in no more than twenty-six theaters and made a decent $1.2M in US BO alone! In a climate more similar to the one we find ourselves in today, I bet it would have taken a lot more. It is the reality version of, say, Napoleon Dynamite. Nobody could write this sh*t though!

Let’s also take a look at some of the top grossing docs today. It is undeniable that the three act structure is there. March of the Penguins, for instance. It grossed over $129M worldwide. And don’t forget Winged Migration with its limited narration. The structure is still there, and so is the BO with a healthy $32M gross worldwide. And we are talking about migrating birds Ladies and Gentlemen!

There is a very specific reason Ken Burn’s Emmy winning documentary series Baseball never made it to the big screen. You tell me…

Until next week.

This weeks Must See Doc is obvious… American Movie.

The Documentary Producer - Documentary: The Objective Facts.

doc•u•men•ta•ry [dok-yuh-men-tuh-ree, -tree] - adjective 1. Consisting of, concerning or based on documents. 2. Presenting facts objectively without editorializing or inserting fictional matter, as in a book or film.

I got into the film industry after failing out of three majors at the Penn State University and was forced to make a decision that would impact the rest of my life….

When I arrived at Penn State, three thousand miles away from the safety net of my parents, I discovered late night parties, drunken escapades, free love and synchronized swimming. Within the first month of school I came down with Mono – the kissing disease – which I fondly recognize as the beginning of the end of what would have been my noble attempt at a “professional” career.

With two weeks left in the third semester, before I had to decide my career, I was given a little gift in the way of a dream. In this dream, my boyfriend and I were diagnosed HIV positive and I found myself standing in front of my mother at my funeral.

“What am I going to do without you,” she sobbed as her bulbous red nose dripped in time with the melancholy dirge.

As you get to know me, you will learn of my Hallmark disease, or in laymen’s term, my ability to cry at the drop of a hat. But not today. Today, there would be no tears.

“Mom, I am going to make a movie, and whenever you get sad or lonely, you can put it in the VCR (this dates me) and I will be there with you.”

So with that, I went knocking on the door of fate and here I am, ten years later, doing what I love best - producing and directing documentary films for the big screen.

My blogging journey will take you through the ups and downs of what it really takes to get a documentary seen by people and, for me more importantly, seen on the big screen.

My most recent documentary, As Seen Through These Eyes, is just starting its 2009 Oscar push and will be airing on The Sundance Channel in late fall. Our goal and journey is to get this Holocaust/Art piece in front of a theater audience.

With four other documentaries, ranging in budget from $1 – 1.5M you will see first hand what it takes to keep documentary filmmakers and their films on the emerging independent documentary film scene.

Sit back, relax and enjoy the ride…

This weeks RecDoc: Grey Gardens - by Albert & David Maysles. Not only a classic, but my favorite.