May 2003

Docs That Make Music May 2003

In this issue, we look at two of the most vital elements when it comes to music for docs: choosing and working with a composer, and clearances and rights.

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Features

Remembering the POWs of 'Berga': Guggenheim's Final Film Celebrates His Army Unit

Berga: Soldiers of Another War is an elegy in two...

By Kevin Lewis

Hero of Doc 'N' Roll: An Interview with Rockumentarian Malcolm Leo

Like many documentarians, Malcolm Leo got his...

By Nat Segaloff

You Shoot, They Score! A Film Composer's Tips for Finding the Right Musical Accompaniment

Filmmakers have often told me that they find the...

By miriam cutler

'Discovery Docs' to Receive Theatrical and Cable Distribution Through New Joint Venture

CameraPlanet, the New York City-based producer and...

By Tom White

Market Downturn: Even in Decline, NATPE Proves a Valuable Learning Experience

As I prepared to attend the 2003 National...

By Brent Jaimes

A Direct-To-Video Film Festival

The Had To Be Made Film Festival (HTBMFF) is the...

By Joseph E. Miller

London Calling!: Nonfiction Opportunities Knock in the UK

While documentary and television aren't the same...

By Martin Curley

Documenting The Hittites: Turkish-American Collaboration Makes Film, Not War

Two and a half years ago, as I was working on an...

By Tolga Ornek

All Clear? A Basic Primer on Music Clearance

Just looking at this year's Oscar nominees for...

By David G. Powell

Only the Strong Survive While Standing in the Shadows of a Music Documentary

Two Filmmaking Teams Discuss Their Salutes to the...

By Elizabeth Blozan

Columns

Playback: Errol Morris' 'The Thin Blue Line'

By Jon Shenk

Fast Foreword: The Editor's Column, May 2003

By Tom White

Notes from the Reel World: The Board President's Column, May 2003

By Michael Donaldson