The announcement was made at the Discovery Channel’s Reception which also celebrated the world premiere of Discovery Impact’s “Rancher, Farmer, Fisherman” by Susan Froemke and John Hoffman and honored Sundance Institute’s The New Climate.“Rancher, Farmer, Fisherman” by Susan Froemke and John Hoffman
John Hoffman, Executive Vice President of Documentaries and Specials, Discovery Channel, Animal Planet, and Science Channel, announced filmmaker Laura Nix (“The Yes Men are Revolting”) as the second Sundance Institute | Discovery Impact Fellow at Discovery Channel’s 2017 Sundance Film Festival reception.
“Laura has established herself as an exciting voice in the documentary film world by telling stories of people working to change the way we think about our environment,” says Hoffman. “Her innovative work chronicling the crusades of ‘The Yes Men’ was thoroughly enjoyable, and we are thrilled to support her as she continues on with other films, including her current project on teenage...
John Hoffman, Executive Vice President of Documentaries and Specials, Discovery Channel, Animal Planet, and Science Channel, announced filmmaker Laura Nix (“The Yes Men are Revolting”) as the second Sundance Institute | Discovery Impact Fellow at Discovery Channel’s 2017 Sundance Film Festival reception.
“Laura has established herself as an exciting voice in the documentary film world by telling stories of people working to change the way we think about our environment,” says Hoffman. “Her innovative work chronicling the crusades of ‘The Yes Men’ was thoroughly enjoyable, and we are thrilled to support her as she continues on with other films, including her current project on teenage...
- 1/27/2017
- by Sydney Levine
- Sydney's Buzz
The Sheffield Doc/Fest is one of the world’s premiere non-fiction film festivals, celebrating both the art and business of documentary film. The business part is a key component, as Sheffield’s MeetMarket has unlocked over $53 million of deals for documentarians since its inception in 2006. It’s for this reason that the filmmakers at Sheffield, while in addition to being top-of-their-field artists, are also experts at how to pitch their projects and getting investors onboard.
To tap into some of that knowledge, IndieWire reached out to six of these experienced filmmakers who have had success pitching and are participating in this year’s MeetMarket, to get their advice about what does and does not work when presenting your project to investors.
Read More: How Field Of Vision’s Quick Production Turnaround Is Changing The Way Documentaries Are Made And Seen
What Works
Maya Gallus, “A Female Gaze”: “This is a film about women filmmakers and how their ‘gaze’ reveals itself in the work. The topic is urgent right now as there is much in the news about the paucity of women at the helm in film and television and why we need to correct this gender disparity. It’s really a film about how the stories we tell reveal who we are as a society. So the timing is excellent. Funders are open and ready to listen. And there is no other contemporary film on the subject.”
Al Morrow, “Sour Grapes”:“Humor always helps in a pitch no matter what the subject or overall tone of the film. I always try and bring out the lighter moments in a story.”
Lindsey Dryden, “Canary In A Coal Mine”: “Successful pitches for me and my teams have been the ones where we’re clear about our story and how we’re going to tell it, succinct, and obviously really excited about the film. That enthusiasm is infectious, especially when it comes from a strong, skilled team.”
Jessica Wolfson, “Did It! From Yippie To Yuppie: Jerry Rubin, An American Revolutionary”:Sometimes you get wrapped up in the pitch and forget to read the reaction of the person you are talking to. Having a partner at the table is great because it allows you to take a moment and assess the situation while the other person is talking. At the Ifp Film Week, [co-director] Paul [Lovelace] and I were able to do that. This helped us make the pitch more engaging for the other end of the table.”
Jeanie Finlay, “Luxury Bitches”: “Being accepted to pitch is not the be all and end all and money will not just appear from sky. It’s worth seeing if people have time to meet outside of the official timetable. A pitch is essentially just a meeting. The most important thing is following up with commissioners and financiers afterwards. Lots of people give ‘great meeting’ and you can have a lot of exciting discussions, but if that isn’t followed up afterwards it was just a lovely meeting.”
Read More: Why Documentary Filmmakers Must Take Care of Legal Business Early and Often
What Doesn’t Work
Lindsey Dryden, “Canary In A Coal Mine”: “I think filmmakers often make a couple of key mistakes (and we’re all guilty of them from time to time). The first is pitching too hard: talking endlessly, lecturing whoever they’re meeting until their eyes glaze over, and not listening. Secondly, filmmakers often don’t tell the actual story: they describe their subject or theme or context, but don’t tell you what’s actually going to happen, how the story will unfold, and how they’re going to tell this story in a unique way. These are things documentary filmmakers can’t know for certain – and films like ‘Call Me Kuchu’ and ‘The Overnighters’ are brilliant examples of completely unexpected twists – but we should be damn good at imagining how our stories might play out.”
Sara Stockmann, Producer of Bobbi Jene”: “It is understandable that pitch teams want to give a 360 degree understanding of their project and in doing so they often get lost in too many details and factual information.”
Maya Gallus, “A Female Gaze”: “Too much extraneous talk. Get to the point: what is the story, who is going to be in it, do you have special or unique access, and what will the audience see. Show a clip. Then let them ask questions.”
Read More: The Critical Role Non-Profits Played in Getting This Year’s Tribeca Film Festival Docs Made
Advice To Filmmakers Get Ready To Pitch
Al Morrow, “Sour Grapes”: “The trailer is everything. If you have a strong trailer that works as a three minute experience and shows the potential and scale of the story you’re most of the way there. It needs to look like your film will look. You can’t say, ‘here’s a trailer, but the film will be different/better.'”
Sara Stockmann, “Bobbi Jene”: “Know whom you are talking to. Do your research on the decision makers. It doesn’t make sense to pitch a project to a decision maker who is not open to the kind of story you are presenting. If you have a great project you will find funding, but don’t waste your energy on 50 meetings. Instead select the five top on your list and save your energy for these. Financing is building a dialogue. Try to collect information from the person you are pitching to. It will come in handy on a future project.”
Lindsey Dryden, “Canary In A Coal Mine”: “A pitch doesn’t have to be formal: it’s the opportunity to have a conversation about the amazing thing you want to make, so keep it conversational, know how to describe your film in a few bullet points, let your passion for the story shine through, and remember to listen. The people you’re pitching to are usually interesting and talented folk who want to discover the ways that you’re interesting and talented, so keep it informal and enjoy the exchange.”
Jessica Wolfson, “Did It! From Yippie To Yuppie: Jerry Rubin, An American Revolutionary”: “[T]ake some time to think of questions you think someone might ask about your film, particularly the more challenging aspects. Because they will ask these questions. Being confident in your answers and in the vision of your film, this will help make a successful pitch.”
Maya Gallus, “A Female Gaze”: “Establish why this film needs to be made now, and why you are the one to make it. Emphasize your passion about the story or access to the subjects – anything to differentiate yourself from the pack.”
Jeanie Finlay, “Luxury Bitches”: “Lastly, do not attempt to pitch to people after 9pm. I saw a funder being accosted on the dance floor last year at about midnight being given proposals and DVDs by an eager filmmaker. I would put money on it that it didn’t result in a commission. Just go to the parties and have fun and let other people do the same.”
Stay on top of the latest in gear and filmmaking news! Sign up for the Indiewire Toolkit newsletter here.
Related storiesHow 'The Witness' Evolved From HBO-Scripted Series To A Doc Revealing the Truth Behind A Shocking MurderHow Field Of Vision's Quick Production Turnaround Is Changing The Way Documentaries Are Made And SeenWatch: The Short About a Changing Williamsburg That Was Inspired by the Once-Lost 'Los Sures'...
To tap into some of that knowledge, IndieWire reached out to six of these experienced filmmakers who have had success pitching and are participating in this year’s MeetMarket, to get their advice about what does and does not work when presenting your project to investors.
Read More: How Field Of Vision’s Quick Production Turnaround Is Changing The Way Documentaries Are Made And Seen
What Works
Maya Gallus, “A Female Gaze”: “This is a film about women filmmakers and how their ‘gaze’ reveals itself in the work. The topic is urgent right now as there is much in the news about the paucity of women at the helm in film and television and why we need to correct this gender disparity. It’s really a film about how the stories we tell reveal who we are as a society. So the timing is excellent. Funders are open and ready to listen. And there is no other contemporary film on the subject.”
Al Morrow, “Sour Grapes”:“Humor always helps in a pitch no matter what the subject or overall tone of the film. I always try and bring out the lighter moments in a story.”
Lindsey Dryden, “Canary In A Coal Mine”: “Successful pitches for me and my teams have been the ones where we’re clear about our story and how we’re going to tell it, succinct, and obviously really excited about the film. That enthusiasm is infectious, especially when it comes from a strong, skilled team.”
Jessica Wolfson, “Did It! From Yippie To Yuppie: Jerry Rubin, An American Revolutionary”:Sometimes you get wrapped up in the pitch and forget to read the reaction of the person you are talking to. Having a partner at the table is great because it allows you to take a moment and assess the situation while the other person is talking. At the Ifp Film Week, [co-director] Paul [Lovelace] and I were able to do that. This helped us make the pitch more engaging for the other end of the table.”
Jeanie Finlay, “Luxury Bitches”: “Being accepted to pitch is not the be all and end all and money will not just appear from sky. It’s worth seeing if people have time to meet outside of the official timetable. A pitch is essentially just a meeting. The most important thing is following up with commissioners and financiers afterwards. Lots of people give ‘great meeting’ and you can have a lot of exciting discussions, but if that isn’t followed up afterwards it was just a lovely meeting.”
Read More: Why Documentary Filmmakers Must Take Care of Legal Business Early and Often
What Doesn’t Work
Lindsey Dryden, “Canary In A Coal Mine”: “I think filmmakers often make a couple of key mistakes (and we’re all guilty of them from time to time). The first is pitching too hard: talking endlessly, lecturing whoever they’re meeting until their eyes glaze over, and not listening. Secondly, filmmakers often don’t tell the actual story: they describe their subject or theme or context, but don’t tell you what’s actually going to happen, how the story will unfold, and how they’re going to tell this story in a unique way. These are things documentary filmmakers can’t know for certain – and films like ‘Call Me Kuchu’ and ‘The Overnighters’ are brilliant examples of completely unexpected twists – but we should be damn good at imagining how our stories might play out.”
Sara Stockmann, Producer of Bobbi Jene”: “It is understandable that pitch teams want to give a 360 degree understanding of their project and in doing so they often get lost in too many details and factual information.”
Maya Gallus, “A Female Gaze”: “Too much extraneous talk. Get to the point: what is the story, who is going to be in it, do you have special or unique access, and what will the audience see. Show a clip. Then let them ask questions.”
Read More: The Critical Role Non-Profits Played in Getting This Year’s Tribeca Film Festival Docs Made
Advice To Filmmakers Get Ready To Pitch
Al Morrow, “Sour Grapes”: “The trailer is everything. If you have a strong trailer that works as a three minute experience and shows the potential and scale of the story you’re most of the way there. It needs to look like your film will look. You can’t say, ‘here’s a trailer, but the film will be different/better.'”
Sara Stockmann, “Bobbi Jene”: “Know whom you are talking to. Do your research on the decision makers. It doesn’t make sense to pitch a project to a decision maker who is not open to the kind of story you are presenting. If you have a great project you will find funding, but don’t waste your energy on 50 meetings. Instead select the five top on your list and save your energy for these. Financing is building a dialogue. Try to collect information from the person you are pitching to. It will come in handy on a future project.”
Lindsey Dryden, “Canary In A Coal Mine”: “A pitch doesn’t have to be formal: it’s the opportunity to have a conversation about the amazing thing you want to make, so keep it conversational, know how to describe your film in a few bullet points, let your passion for the story shine through, and remember to listen. The people you’re pitching to are usually interesting and talented folk who want to discover the ways that you’re interesting and talented, so keep it informal and enjoy the exchange.”
Jessica Wolfson, “Did It! From Yippie To Yuppie: Jerry Rubin, An American Revolutionary”: “[T]ake some time to think of questions you think someone might ask about your film, particularly the more challenging aspects. Because they will ask these questions. Being confident in your answers and in the vision of your film, this will help make a successful pitch.”
Maya Gallus, “A Female Gaze”: “Establish why this film needs to be made now, and why you are the one to make it. Emphasize your passion about the story or access to the subjects – anything to differentiate yourself from the pack.”
Jeanie Finlay, “Luxury Bitches”: “Lastly, do not attempt to pitch to people after 9pm. I saw a funder being accosted on the dance floor last year at about midnight being given proposals and DVDs by an eager filmmaker. I would put money on it that it didn’t result in a commission. Just go to the parties and have fun and let other people do the same.”
Stay on top of the latest in gear and filmmaking news! Sign up for the Indiewire Toolkit newsletter here.
Related storiesHow 'The Witness' Evolved From HBO-Scripted Series To A Doc Revealing the Truth Behind A Shocking MurderHow Field Of Vision's Quick Production Turnaround Is Changing The Way Documentaries Are Made And SeenWatch: The Short About a Changing Williamsburg That Was Inspired by the Once-Lost 'Los Sures'...
- 6/14/2016
- by Chris O'Falt
- Indiewire
The premiere post-tiff destination (September 20-25th) in the film community and a major leg up for narrative and non-fiction films in development, the Independent Filmmaker Project (Ifp) announced a whopping 140 projects selected for the Project Forum at the upcoming Ifp Independent Film Week. Made up of several sections (Rbc’s Emerging Storytellers program, No Borders International Co-Production Market and Spotlight on Documentaries), we find latest updates from the likes of docu-helmers Doug Block (112 Weddings) and Lana Wilson (After Tiller), and among the narrative items we find headliners in Andrew Haigh (coming off the well received 45 Years), Sophie Barthes (Cold Souls and Madame Bovary), Terence Nance (An Oversimplification of Her Beauty), Lawrence Michael Levine (Wild Canaries), Jorge Michel Grau (We Are What We Are), Eleanor Burke and Ron Eyal (Stranger Things) and new faces in Sundance’s large family in Charles Poekel (Christmas, Again) and Olivia Newman (First Match). Here...
- 7/22/2015
- by admin
- IONCINEMA.com
On the heels of the 39th edition of the Toronto Int. Film Festival (Sept 4-14), Ifp’s Independent Film Week is where a plethora of fiction, non-fiction and new this year, web-based series from the likes of Desiree Akhavan and Calvin Reeder find future coin. Sectioned off as projects at the very beginning of financing to those that are nearing completion, there happens to be tons of Sundance alumni in the names below. Among those that caught our attention we have Medicine for Melancholy‘s Barry Jenkins’ sophomore feature, produced by Bad Milo!‘s Adele Romanski, Moonlight is about “two Miami boys navigate the temptations of the drug trade and their burgeoning sexuality in this triptych drama about black queer youth”. Concussion‘s Stacie Passon digs into the thriller genre with Strange Things Started Happening. Produced by vet Mary Jane Skalski (Mysterious Skin), this is about “a woman who has...
- 7/24/2014
- by Eric Lavallee
- IONCINEMA.com
Today Kino Lorber releases Paul Lovelace and Jessica Wolfson’s documentary Radio Unnameable, starting with an exclusive run at Film Forum in New York City. The following interview was originally published on the eve of the film’s screening at BAMcinemaFest.
For decades, Bob Fass has been a unique voice on the airwaves of New York City’s freeform radio station Wbai with his show “Radio Unnameable.” From hosting a young Bob Dylan to organizing spontaneous youth gatherings with the Yippies, Fass has come to define an era of radio that had a profound influence on our culture. In their new documentary film Radio Unnameable, Paul Lovelace and Jessica Wolfson tell Fass’ story by utilizing a treasure trove of archival material, interviews and audio (which is constantly updated and can be sampled here). After premiering at the Full Frame Documentary Film Festival, Radio Unnameable screens at the BAMcinemaFest today.
Filmmaker:...
For decades, Bob Fass has been a unique voice on the airwaves of New York City’s freeform radio station Wbai with his show “Radio Unnameable.” From hosting a young Bob Dylan to organizing spontaneous youth gatherings with the Yippies, Fass has come to define an era of radio that had a profound influence on our culture. In their new documentary film Radio Unnameable, Paul Lovelace and Jessica Wolfson tell Fass’ story by utilizing a treasure trove of archival material, interviews and audio (which is constantly updated and can be sampled here). After premiering at the Full Frame Documentary Film Festival, Radio Unnameable screens at the BAMcinemaFest today.
Filmmaker:...
- 9/16/2012
- by Tom Hall
- Filmmaker Magazine - Blog
Kino Lorber will distribute "Radio Unnameable," a documentary about on-air personality Bob Fass who revolutionized late night, free-form radio programming. It will premiere September 19 at the Film Forum in New York before expanding. "Radio Unnameable" first aired in 1963 on New York's Wbai and still broadcasts Thursday nights, midnight to 3am. The show became a cultural hub with guests who included Arlo Guthrie, Allen Ginsberg, Kinky Friedman, Abbie Hoffman, Bob Dylan and Carly Simon. Directed by Paul Lovelace and Jessica Wolfson, "Radio Unnameable" draws from Fass' immense archive of audio, film, photographs, and video. Said Kino Lorber CEO Richard Lorber: "New York-based Bob Fass has been a defining figure and inspiring visionary on the national media scene for half a century. We are thrilled to introduce Pauland Jessica's "Radio Unnameable" to a new media generation - they'll...
- 8/30/2012
- by Indiewire
- Indiewire
We’re very happy to exclusively premiere the trailer to Paul Lovelace and Jessica Wolfson’s buzz doc Radio Unnameable, a portrait of the legendary late-night radio DJ Bob Fass. The film, which premiered at the Full Frame Documentary Film Festival earlier this year, won a Special Jury Prize at the Sarasota Film Festival and has its first NYC screening at BAMcinemaFest tonight.
You can check out Filmmaker‘s interview with Lovelace and Wolfson here.
Radio Unnameable Documentary Trailer from Jessica Wolfson on Vimeo.… Read the rest...
You can check out Filmmaker‘s interview with Lovelace and Wolfson here.
Radio Unnameable Documentary Trailer from Jessica Wolfson on Vimeo.… Read the rest...
- 6/27/2012
- by Nick Dawson
- Filmmaker Magazine - Blog
For decades, Bob Fass has been a unique voice on the airwaves of New York City’s freeform radio station Wbai with his show “Radio Unnameable.” From hosting a young Bob Dylan to organizing spontaneous youth gatherings with the Yippies, Fass has come to define an era of radio that had a profound influence on our culture. In their new documentary film Radio Unnameable, Paul Lovelace and Jessica Wolfson tell Fass’ story by utilizing a treasure trove of archival material, interviews and audio (which is constantly updated and can be sampled here). After premiering at the Full Frame Documentary Film Festival, Radio Unnameable screens at the BAMcinemaFest today.
Filmmaker: Radio is such a personal experience; for many people, the magic of Bob Fass lies in the power and focus of his voice on the radio and the way in which that voice acts within their own day to day lives.
Filmmaker: Radio is such a personal experience; for many people, the magic of Bob Fass lies in the power and focus of his voice on the radio and the way in which that voice acts within their own day to day lives.
- 6/26/2012
- by Tom Hall
- Filmmaker Magazine - Blog
Today the full lineup for BAMCinemafest has been unveiled, including the opening and closing night films. (The initial slate of titles was announced just over a month ago.) The fest will be bookended by comedian Mike Birbiglia’s Sundance charmer Sleepwalk with Me and Rock ‘n’ Roll Exposed: The Photography of Bob Gruen, the latest doc from British musician and filmmaker Don Letts (Dancehall Queen).
The Spotlight screening is Benh Zeitlin’s Sundance Grand Prize winner Beasts of the Southern Wild, and other highlights out of the newly announced titles include the Ross brothers’ Tchoupitoulas, Cory McAbee’s Crazy and Thief and Tim Sutton’s Pavilion (all of which I’m very excited to catch up with.)
Speaking about the 2012 lineup, BAMcinématek’s program director Florence Almozini said, “I’m really excited about the fourth edition of BAMcinemaFest as it may be our best yet. I think we’re refining...
The Spotlight screening is Benh Zeitlin’s Sundance Grand Prize winner Beasts of the Southern Wild, and other highlights out of the newly announced titles include the Ross brothers’ Tchoupitoulas, Cory McAbee’s Crazy and Thief and Tim Sutton’s Pavilion (all of which I’m very excited to catch up with.)
Speaking about the 2012 lineup, BAMcinématek’s program director Florence Almozini said, “I’m really excited about the fourth edition of BAMcinemaFest as it may be our best yet. I think we’re refining...
- 5/3/2012
- by Nick Dawson
- Filmmaker Magazine - Blog
BAMcinématek has announced a first round of titles for its fourth annual BAMcinemaFest, running June 20 through July 1, and we've already placed one of them at the top of our must-see list: The Unspeakable Act, directed by frequent Notebook contributor Dan Sallitt. Here's the official synopsis: "Jackie's romantic feelings for her brother Matthew form the unlikely backdrop against which the milestones of adolescence — choosing a college, losing one's virginity — unspool in film critic Sallitt's long-awaited directorial return, an unnervingly dispassionate take on the last taboo, set in Brooklyn's Ditmas Park."
The other narrative features slated for the 12-day summer festival:
Rick Alverson's The Comedy. A roundup's in the pipeline. Craig Zobel's Compliance. See the Sundance roundup. So Yong Kim's For Ellen. Roundup forthcoming. Brian M Cassidy and Melanie Shatzky's Francine. Likewise. Ry Russo-Young's Nobody Walks. Sundance roundup. Keith Miller's Welcome to Pine Hill. The Slamdance roundup's got the trailer.
The other narrative features slated for the 12-day summer festival:
Rick Alverson's The Comedy. A roundup's in the pipeline. Craig Zobel's Compliance. See the Sundance roundup. So Yong Kim's For Ellen. Roundup forthcoming. Brian M Cassidy and Melanie Shatzky's Francine. Likewise. Ry Russo-Young's Nobody Walks. Sundance roundup. Keith Miller's Welcome to Pine Hill. The Slamdance roundup's got the trailer.
- 3/28/2012
- MUBI
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