Winner of the Jacqueline Donnet Emerging Documentary Filmmaker Award
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I remember feeling outraged when I first saw Boatman (1993), a film about life and death on the river Ganges in India. I saw the film at a time when I was sure that I had finally found the key to documentary filmmaking. Feeling lucky to be starting out in the documentary world just as the genre was growing in force, I was sure that, just as in feature filmmaking, the key was to have a strong, clear story line. It was all about character development, foreshadowing and payback. I was so excited by my revelation that these elements became my only truth. Then I saw Boatman, in which director
After completing his latest documentary feature, Errol Morris professed that the film captured "the strangest interview I’ve ever done." And for Morris, the man famous for the invention of his interviewing machine aptly coined The Interrotron, this conversation with former Secretary of Defense Donald Rumsfeld is just one of thousands he’s conducted over the course of his filmmaking career. So to refer to it as "the strangest" is certainly saying something. After developing a personal fascination with Rumsfeld's "snowflakes"—the enormous mountain of memos he composed during his almost fifty
I have had job interviews and meetings with some of the best independent documentary filmmakers around. Some of them hired me for paying jobs; others offered me positions working for free; one didn't want to properly administer credit; another tested me out through a trial period of unpaid work. The last led to a paid position. Many prestigious filmmakers often say they have no money to hire while in development and in early stages of production, yet they want the labor. They offer unpaid work because they can get someone to fill the spot—usually a college student or a recent graduate, but
Director Barbara Kopple spoke to Indiewire's Dana Harris about wanting to get inside the Hemingway mythos.
The upcoming Winter issue of Documentary magazine will take a comprehensive look at the all-important elements to any documentary: Sound and Music! Production sound, sound design, editing and mixing, composing, music licensing and music supervision, and music documentaries: It's all here, for your reading—and maybe even listening—pleasure! Experts from across the documentary spectrum share their insights about their secrets to sonic synchronicity. But wait. There's more! Thanks to the popularity of the education-themed Fall 2013 issue, we are launching a new column that will spotlight a
Criticwire's Steve Greene talks to TIM'S VERMEER producer Farley Ziegler about carving their story.
NFB Deems Him 'One of the Greats of the Documentary World'
A review of 'American Ethnographic Film and Personal Documentary: The Cambridge Turn'