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

Feature | May 2003

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

By Kevin Lewis

Playback

Feature | May 2003

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

By Nat Segaloff

Directing Music Documentaries

Feature | May 2003

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

By miriam cutler

Music

Feature | May 2003

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

By Tom White

Distribution

Feature | May 2003

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

By Brent Jaimes

Business Markets & Industry Talks

Feature | May 2003

A Direct-To-Video Film Festival

By Joseph E. Miller

Festivals Business

Feature | May 2003

London Calling!: Nonfiction Opportunities Knock in the UK

By Martin Curley

TV Docs

Feature | May 2003

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

By Tolga Ornek

Feature | May 2003

All Clear? A Basic Primer on Music Clearance

By David G. Powell

Music Legal

Feature | May 2003

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

By Elizabeth Blozan

Music Documentaries

Columns

Column | May 2003

Playback: Errol Morris' 'The Thin Blue Line'

By Jon Shenk

Playback

Column | May 2003

Fast Foreword: The Editor's Column, May 2003

By Tom White

Fast Foreword

Column | May 2003

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

By Michael Donaldson

Notes from the Reel World