Dear Editor, I am writing in response to the article in the November 2002 issue written by Mitchell W. Block regarding distribution. This article
Distribution
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“It comes from outrage that I pursue the projects I do,” says Arthur Dong, whose films L icensed to Kill (1997) and the recent Family Fundamentals
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Documentary distributors and producers searching for international partners and foreign buyers may want to consider participating in the two-day
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Those who haven’t made documentaries may wonder why anyone would want to. Fundraising for filming and editing can take years. Once you’re finished
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It’s opening night at the Laemmle Theatre in Los Angeles, the world premiere of your new film. You’ve done everything you can to ensure a successful
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As a celebrated filmmaker once said, “The difference between watching a film on television and seeing it on a 40-foot movie screen is the difference
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Just as writers write for an audience, producers produce with the hope that as many people as possible will watch their shows. To this end
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Editor’s Note: For Richard Roe, who made the award-winning Pop & Me with his son Chris,, selling a documentary to the media takes more than a little
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Editor’s note—It seems so many moons ago—but it was only last year—when filmmaker Doug Block took that one giant leap for filmkind and launched his
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The Internet is defined and perpetuated by communities of interest, rather than by regional communities. Whereas broadcast stations reach audiences in