Documentary Film Industry, Documentary Productions, The Right Footage

Interview With Tom Jennings, 1895 Films


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In this interview, we get the chance to get some inside information from director Tom Jennings, a Peabody and Emmy award-winning documentary filmmaker. He has written, produced and directed more than 400 hours of programming on a variety of topics, including politics, religion, history, crime, sports, mystery and travel. He has produced documentary films all around the globe, always looking for new ways to tell stories that are informative and entertaining.

Tom lives and works in LA, he’s at the front-row seat of the heart of the industry in the US. This is an amazing opportunity to hear the voice of an acclaimed filmmaker who knows the industry inside-out has and witnessed how it changed and evolved in the past 15 – 20 years.

First, before all the questions about the industry that we have for you – can you talk a bit about you, your work and where it all started for you?

My first job was being a newspaper reporter. I have a degree in journalism from Kent State University in Ohio. I wrote for papers in Washington, D.C., New York and Los Angeles before changing careers to write television documentaries. I made that change in the late 1990s, right as cable networks were taking off. Production companies needed people who could write and thankfully my background made me a good candidate for telling stories that were to the point and easy to understand. When executive producers saw that I could write scripts without much trouble, they started sending me out to do interviews with film crews. I had no idea how film shoots worked, but I knew how to interview people from being a journalist. The film crews I worked with in those early days taught me a lot about production – how to light, how to shoot b-roll and how to be sure I had the proper coverage to tell a story. Those crews were like my film school. I became a director after that and in 2004 I sold my first series to Discovery Channel and I’ve had my own production company ever since. We do films that exist somewhere between pure journalism and television documentaries. It’s a great fit for me and I really love what I do. I’m very lucky.

Tom Jennings, 1985 films

You’ve been working in the industry for the past 15 years, what are the big changes you witnessed in the past 5 years as an insider?

The changes going on in our industry are coming very fast. There are huge changes in the technology we use to create films. Editing systems are more powerful. Access to images from around the globe are nearly instantaneous and our ability to do everything in-house, including mixing and color corrections now possible because systems are more affordable. At the same time, selling programming to networks has become more challenging and confusing. It’s always been difficult to find the sweet spot of what a network wants, but with the advent of streaming services and other internet platforms, there’s a certain chaos going on now. Everyone is trying to figure out how to “cut through the noise” of an immense amount of content out there. My job is to constantly monitor who is buying what, what types of programs do well, what is in the zeitgeist for audiences and can I blend all that together to make films that we find fascinating. So far, we’ve been lucky, and I hope we can continue to make the kind of programming we love, whether it be for cable or streaming.

In light of today’s competitive landscape and the rising demand for content: do producers and filmmakers, like you, feel the pressure to produce more and hence the need to constantly find new ideas?

We are ALWAYS on the lookout for new ideas. Fortunately, for me, coming from a journalism background I have a pretty good instinct of how to find them. When I was a newspaper reporter we had a city editor who would say, “Slow news day, get out on the streets and find me a great story”. It was great training for finding ideas for documentaries. However, I know I have to tailor ideas to what networks want. I may find something that is amazing, but if no one is buying that kind of material than it remains just that, a great idea. I often joke with my staff about how we have to strike a balance between great ideas for films and making sure those ideas fit what can sell. “I could have an interview with Jesus Christ himself,” I tell my staff, “And a network will say, ‘Sorry, we’re not doing religion shows right now.’” Regardless of the idea, any idea has to fit to have a home, or it won’t go anywhere.

Do you think that today’s competitive landscape for broadcasters raises the bar in terms of quality (for documentaries) and does it also require bigger production budgets?

This is a double-edged sword, to be sure. Budgets have always been tight. I’ve never talked with a producer who has said, “We had more than enough money to make that show”. For premium content, especially with international travel or purchasing very expensive archival images, networks acknowledge that the budget has to be big enough to handle those costs. However, even when budgets are small, the expectation of quality is high. We’re always looking for clever ways to stretch our dollars to be sure everything is on the screen.

What does it take to have a good idea for a documentary film? Do unique archives play an important role in the construction of a film?

It takes having a great story, unique access, unseen images, great storytellers and sometimes a well-known actor to host. There are dozens of things that go into getting a show on the air and the alchemy in that process is finding the right balance of all these factors. Depending on the story, archive can play a tremendously important factor. But it’s not like 10 or 15 years ago where old black and white images were used as “wallpaper” (as we say) to help illustrate what someone being interviewed is telling us. Today, our use of archive has to be more vibrant, an integral part of the fabric of the story. Many of our films have ONLY archive in them, which makes a lot of what we do unique. We use the images and sounds from events of long ago to bring those stories back to life in ways that no recreation can. But with archive, there is either too much material or too little. We can spend weeks going through images and footage of well-covered events, but when we need to illustrate a particular moment, often we can’t find anything that fits the narrative. Regardless of how archive is used in a film, if you’re going to use it, use it well.

How do you look for new ideas? Have you built strong relationships with archive sources? Do archive sources come to you to let you know about their unique collections? or do you often look for them?

Great ideas are everywhere. I tell my staff that every day in The New York Times there are 25 ideas for documentaries – and they are NOT in the headlines on Page 1. You have to keep your eyes and ears open. Ideas will come to you, but you have to learn how to recognize them – and to dig them out when they are not obvious. Sometimes I’ll just go on the Wikipedia main page and hit the link to “random article”. You would be amazed what can pop up. And though those links aren’t often a perfect documentary idea they can get you thinking about things that may seem random, but suddenly make perfect sense. I’m always reading general interest magazines and newspapers. I listen to as many radio programs and podcasts that I can. I look at what books are selling on Amazon. I keep up with what’s being researched at universities to see if there are new discoveries coming out. I always check in with sources for past films to see what’s new in their lives and ask if they have heard of anything great coming their way. I love going to libraries and just walking through the stacks looking at book titles. I think about all the things happening in the world and wonder what stories are out there that no one has thought to pursue. And suddenly, a light goes off in my brain and says – “That one could work!” And then the hard part starts – research, making sure it hasn’t been done before, and seeing if my bright light moment is something that will fit with the buyers.

When you pitch to broadcasters is the promise of accessing unique archives a selling argument, in order to build original documentaries and captivate a wider audience?

Many of the broadcasters to whom we pitch are extremely interested in hearing about long-lost or never-before-seen footage. The networks definitely use this as a big selling point. I can’t blame them. It gives them marketing leverage in a highly competitive market place. But it pays to know your history when it comes to programming on cable and on streaming. I can’t tell you how many times I see commercials for programs that claim, “never before seen” or “never before heard” and I know that my company or someone else’s company did that same program five or ten years ago. Memories are short these days. Having a background in journalism, I’m always sure that when I bring the networks something special that I know it really is something never before heard or seen. And this works for the audience, as well. If they think they are going to see something new about a story they thought they knew, they’ll be intrigued and hopefully tune in.

Is there a higher demand for documentaries today than in the past?

Yes. A few decades ago, there were a handful of people making feature documentaries. Major network news divisions had documentary divisions and there were places like National Geographic Films, which existed longer before the channel. PBS was also a place to sell documentary programming. But in general, the options were limited (and I have to add the caveat this was before my time in the documentary business). When cable television got really going in the 1990s, places like Discovery, History and others wanted a lot of hour-long documentaries to put on their airwaves. It was a bit of a golden age. I worked for several documentary companies during that time and my work took me all around the world to places I thought I would never go, and to meet people I thought I would never meet. Then reality television came along, and let’s face it reality television is basically a hijacked version of the documentary format. But audiences loved those shows and the demand for long-form television docs started to dwindle. About five or six years ago, we were convinced we would have to start producing programming in the reality space because that was where all the work was. And then something happened. I’m still not sure what, but audiences grew weary of reality programming and circled back to wanting better stories and films that felt more unique. Suddenly, the type of films we make are in vogue again. I’m grateful for that.

What makes a documentary project appealing today for US broadcasters and so streaming channels such as Netflix, Amazon Prime, Hulu? (does it need to be international, have already a huge community base of fans, have unique angles, archives etc…..)

Nearly every broadcaster we deal with wants programming that can “travel”, meaning it can be shown anywhere on the planet and people will still find it interesting. To help them with that, we are tasked with often finding new angles on well-known stories that nearly everyone knows. Our film about Princess Diana for National Geographic was one of the highest-rated films the network has ever had internationally (besides doing well in the United States). Her story is one that is known worldwide, so getting people to tune in is easier. The trick is to have a story that is so good that those viewers won’t change the channel. Another network once told me, if you’re going to pitch me a shipwreck story it had better be the Titanic. Even though we have found dozens of great shipwreck stories, many of them with unbelievable archival footage connected to them, I’ll have a much better chance of making a sale if I find something new about the Titanic.

Archive Researchers, Documentary Productions

Oscars 2019 Documentary Feature Shortlist: The Producers & Funds Behind Their Success


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The 2019 Oscars documentary shortlist was announced last month and the competition will probably see one of the most successful box-office selections of all times. Four of the shortlisted productions (“RGB”, “Free Solo”, “Three Identical Strangers” and “Won’t you be my neighbor”) have already been grossing at more than $10m. No matter who makes it to the nominations, we decided that it’s important to look at some of the production details of each of the 15 films in the shortlist. Producers, funds and decision makers played a key role in their journey to becoming some of the most notable achievements in the genre for 2018. Here are some interesting insights of how they are funded, their co-production partners, their festival rounds and distribution deals – celebrating all the people who made these projects possible and believed in their success.

Shirkers

First feature documentary by Sandi Tan. World premiere at the 2018 Sundance Film Festival, won the Directing award. Winner at Cinema Eye Honors Awards, US, Florida Film Critics Circle Awards, Los Angeles Film Critics Association Awards, Philadelphia Film Festival . Produced by Maya Rudolph and Jessica Levin. Acquired by Netflix Originals and released on October 26, 2018 , becoming available in 195 countries and 25 languages. Post-production funding was provided by Doc Society Genesis Grant and Cinereach in addition to a development grant from Sundance.

Minding the Gap

(nominated)

Directed by the first-time filmmaker Bing Liu. World premiere at Sundance, followed by an international one at CPH:DOX. The most awarded film in the selection – 46 wins including awards at Sundance, Hot Docs, Sheffield, CPH:DOX. The film is a co-production of KARTEMQUIN FILMS (Diane Quon), POV (Justine Nagan) and ITVS. Additional funding was provided by Sundance Institute Documentary Film Program with support from Open Society Foundations, JustFilms | Ford Foundation, John D. and Catherine T. MacArthur Foundation. It’s currently streaming on Hulu.

Three Identical Strangers

Directed by Tim Wardle. Premiered at Sundance and won the Grand Jury Award for Storytelling. Produced by RAW TV (Becky Read), CNN FILMS (Amy Entelis, Courtney Sexton) and Channel 4 (Sara Ramsden). Currently grossing $12,320,845, it is the 26th most successful project in the all-time documentary box office. The archival production was lead by Beatrice Read and Jack Penman both of whom we are happy to have in Archive Valley’s community of professional archive researchers. The distribution rights were acquired by NEON/ DOGWOOF and CNN is planning a broadcast premiere in 2019.


Dark Money

Directed by Kimberly Reed (“Prodigal Sons”). A production of Big Sky Film Productions, Inc. Co-produced by Big Mouth Productions (Katy Chevigny) and Meerket Media Collective. Premiered at Sundance where it won the Sundance Institute/Amazon Studios Producers Award. The production was supported by Doc Society / The Threshold Foundation, Topic Studios, JustFilms / Ford Foundation, IFP and Sundance. PBS acquired the North American distribution rights. You can watch it on POV SEASON 31, Jan 10th.

HALE COUNTY THIS MORNING, THIS EVENING

(nominated)

First feature documentary by RaMell Ross and probably the most visually unique film in the shortlist. Produced by Danny Glover’s Louverture films and co-produced by Field Of Vision (Laura Poitras & Charlotte Cook) and Bertha Foundation. The production also received additional funding by Cinereach, JustFilms / Ford Foundation, Doc Society / The Threshold FoundationIFP, Tribeca All Access and Sundance. PBS’s ‘Independent Lens’ will broadcast it on Feb 11.

Crime + Punishment

Directed by Stephen Maing (“High Tech, Low Life”). Production companies: Mud Horse Pictures, Field of Vision (Laura Poitras, Charlotte Cook), Sundance Documentary Institute. Received additional funding by Ford Foundation, Gucci Tribeca Documentary Fund, IDA Enterprise Documentary Fund, IFP. The archival producer behind the project was Wyatt Stone who’s also a member of Archive Valley’s community. The film is available on Hulu.

On Her Shoulders

A second documentary feature by Alexandria Bombach after her debut in 2015 with “Frame by Frame”. The project was entirely funded by RYOT Films (Hayley Pappas &.Brock Williams) Premiered and won the documentary directing award at the 2018 Sundance Film Festival. Oscilloscope Laboratories has acquired North American rights for distribution.

Of Fathers and Sons

(nominated)

Directed by Talal Derki. Premiered at Sundance where it was awarded Grand Jury Prize in the World Cinema – Documentary. Produced by BASIS BERLIN Filmproduktion (Tobias Siebert, Eva Kemme, Ansgar Frerich). In co-production with Ventana Film(Hans Robert Eisenhauer ), Impact Partners (Dan Cogan, Jenny Raskin, Geralyn White Dreyfous),  Cinema Group Production, and Südwestrundfunk, Rundfunk Berlin-Brandenburg in collaboration with ARTE. It received additional funding from Chicago Media Project, Doha Film Institute, IDFA BERTHA Fund, Screen Institute Beirut. Kino Lorber obtained the distribution rights for North America.

The Silence of Others

Directed by Robert Bahar, and Almudena Carracedo, with executive producer Pedro Amoldovar. The project is a co-production of Semilla Verde Productions, American Documentary | POV, Independent Television Service (ITVS) and Latino Public Broadcasting (LPB). Additional funding provided by Corporation For Public Broadcasting (CPB), support from Bertha Foundation, Catapult Film Fund, Sundance Institute Documentary Film Program. Multiple awards including Grand Jury Award – Best Documentary at Sheffield Doc Fest, IDA Pare Lorentz Award, Berlinale Peace Film Award. Distributed by Cinephil.

Charm City

Director: Marilyn Ness, two-time Emmy, Peabody, and DuPont Award-winning producer. Premiered at Tribeca 2018. Produced by Big Mouth Productions (Katy Chevigny) and co-produced by Motto Pictures (Christopher Clements). Funding support from IDA Enterprise Documentary Fund, Catapult Film Fund, Bertha Foundation, The Fledgling Fund, Hartley Film Foundation, and Sundance.

The Distant Barking of Dogs

Directed by Simon Lereng Wilmont, co-production between the Danish documentary powerhouse Final Cut For Real (Monica Hellstrøm, Heidi Elise Christensen), Mouka Filmi, STORY & Bayerischer Rundfunk, and Arte. The film was pitched at GÖTEBORG FILM FESTIVAL, NORDISK PANORAMA & IDFA FORUM. It received funding from Sundance Institute Documentary Film Program, Open Society Foundations, Ford Foundation – Just Films and The Creative Europe Programme of the European Union.

Free Solo

(nominated)

A second documentary feature by Jimmy Chinn after his debut in 2015 with “Meru”. A National Geographic Documentary Films release and presentation of a Little Monster Films, Itinerant Media, Parkes+MacDonald/Image Nation production. Executive producers: Walter Parkes, Laurie MacDonald, Tim Pastore, Matt Renner. Premiered at Telluride Festival, won the People’s Choice Award at TIFF. Currently grossing at $11m it is the fourth most successful documentary release of 2018.

 

RBG

(nominated)

Directed and produced by Betsy West and Julie Cohen of Storyville Films, in co-production with CNN FILMS (Amy Entelis & Courtney Sexton). The rights were sold to Magnolia Pictures and Participant Media. Renée Silverman was in charge of the archival production. So far it has generated more than $14m, the second biggest documentary box-office for 2018.


Communion

Directed by first-time filmmaker Anna Zamecka. Premiered at the 69th Locarno Film Festival where it won the Grand Prix of Semaine de la Critique. A co-production between Wajda Studio, HBO Europe (Hanka Kastelicová), Otter Films (Anna Wydra).

Won’t you be my neighbour?

Directed by Morgan Neville and produced by Tremolo Productions ( Caryn Capotosto, Nicolas Ma) with support from Impact Partners (Dan Cogan, Jenny Raskin, Geralyn White Dreyfous). Premiered at Sundance and since then it has gathered 30 festival awards. The archival production was lead by Susan Ricketts and Samantha Casey. It’s currently grossing at $22m and it has become the 12th biggest documentary box-office release of all times.

There will be only one winner at the Oscars award ceremony on 25th of Feb but there are already plenty of remarkable achievements : 12 of the selected productions in the Oscars 2019 documentary shortlist are their creators’ first or second project. 13 premiered at Sundance and 8 of those receiving support from Sundance Institute. Ford Foundation supported 5 projects, Doc Society & IFP – 3 , Cinereach, Impact Partners, ITVS and Catapult Film Fund – 2. Big Mouth Productions, CNN FILMS, and Field of Vision each co-produced 3 films. Congratulation to everyone involved in those projects for making 2018 truly exceptional year for the documentary film industry.

Archive Researchers, Documentary Festivals, Documentary Productions

Interview With Rhodri Lowis On His Work For Werner Herzog & Andre Singer’s Meeting Gorbachev


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Meeting Gorbachev was undeniably one of the standout archival productions on Archive Valley during 2018. As the head of the archive research, Rhodri Lowis found archives that eventually helped to build a very different portrait of Gorbachev, following the unique artistic vision of Werner Herzog and Andre Singer. We had the chance to catch up with Rhodri and learn about his experience working with these two amazing filmmakers and how Archive Valley became an important part of this archival production.

How did you get involved in this ambitious project?

I was doing some research for André Singer’s company Spring Films and he was going into production with the project, having finalised the funding. He took me on in a preliminary research role and I stubbornly stuck around!

When you started the project how specific were the directions gave by the two directors?

There was naturally some specific direction, but I was given some freedom to explore interesting areas. A lot was rather implicit, given that what is most important about Gorbachev’s life were the 6 years during which he was the leader of the USSR. As an international project (we were supported by A&E in the USA and MDR/Arte in Germany) there was a degree of focus on Gorbachev’s international dealings – with the USA, Germany, UK etc. – and how this resonates in present-day geopolitics.

As one might expect, there were some very precise demands from Werner Herzog – for example, a specific aerial shot of the “Baltic Chain”, where two million people across the region linked arms to demonstrate for independence. He also remembered reading of some footage of Gorbachev’s predecessor, the dying Chernenko, voting from his hospital room made to look like an official polling station. To him, these and a few other clips were essential to the narrative, and that was clear quite early on. My instructions from André were more broad, ranging from Gorbachev’s early life under Nazi occupation, following his rise through the ranks of the Soviet system, to the aftermath of the fall of the USSR. We amassed as much footage as possible and periodically would go through images, filtering out generic material to be best prepared for the edit.

Our producer Svetlana Palmer grew up under Gorbachev and worked on CNN’s Cold War series, and so had both first-hand memories and strong archive knowledge of major events in the Eastern Bloc. This really enriched the scope of the archive we could look for and her input was invaluable. Beyond that, as I also worked across the general research and preparation for interviews, that put me in a good position to think of areas to explore for archive footage.

You made quite a few requests through Archive Valley’s platform. What were your goals – trying to bring as much context as possible or finding the unexpected?

Well, both really. We had done some extensive background research and so had a good idea of the footage we wanted for some sections of the film – protests in precise locations leading to the breakup of the USSR, landmark events such as Chernobyl and the Reykjavik Summit, and particular press conferences. But I also put out a few requests hoping for some unexpected material. For example, we came across some little-seen footage of the Belavezha Accords, an agreement to effectively dissolve the USSR between the leaders of the Soviet republics. This was a huge moment that sealed the fate of the Union and decided the future of the now former-Soviet countries, and it was great to find it on camera. The Archive Valley platform was really useful to get these requests out to a broad spectrum of companies and independent researchers
with whom I could then discuss directly and in more detail the nature of our requests so as to ensure the best possible footage could be sent to us.

Is there a specific footage that you personally think stands out?

There’s some wonderful rarely-seen footage from the Russian State Archives in Krasnogorsk, which we used throughout the film but especially in a sequence depicting the funerals of Gorbachev’s three predecessors in very quick succession: mass parades, elaborate hearses and the frail remaining members of the gerontocracy that Gorbachev inherited. Werner also remembered a rather understated coverage of the initial opening of East-West relations. This was confirmed when we dug around local news archives. A clip from Austrian TV news in 1989 offered some gardening advice: to use a mug of beer to entice your booze-loving slug infestation and kill them off… The report is then followed by a somewhat underwhelming announcement that the Hungarian Prime Minister Miklós Németh had ordered the dismantling of the barbed wire fence between Hungary and Austria – the first hole in the Iron Curtain! Werner was astonished that somebody had decided this was less important news than beer and slugs, and it formed an amusing and memorable sequence in the film.

What was your experience dealing with Russian archive sources?

Our project was split about 50-50 between Russian and non-Russian archive sources. Everything in Russia and the former Soviet Union was expertly sourced and managed by our excellent Archive Producer Masha Oleneva, whose encyclopedic archival knowledge found us the best material there was. She is immensely experienced and ensured that negotiating with Russian archives was a relatively painless process.

The documentary is composed of three big interviews with Gorbachev by Werner Herzog. Did the archival research start before the interviews? What was their impact on your research process?

Yes, there was an initial scout to see what was out there, and as the interviews progressed, we had a better idea of what we could search for and use to furnish these conversations that form the film’s backbone. We didn’t have a very orthodox schedule, owing to Gorbachev’s health and availability; this demanded that interviews be carried out sometimes at very short notice or delayed at the last minute. This definitely dictated the direction of the film’s archive research; while we waited for an interview, we collected and refined material, but as soon as an interview was completed, it would throw up many more areas of interest for research and so it was really on a week-by-week basis in terms of direction.

How did you perceive the work dynamics and creative process between these two filmmakers?

This was my first time working with Werner and André, and both had very distinct methods that melded together well during the film’s progression. I was based at Spring Films in London with André and we worked much more closely.

André is a leading anthropologist, and as expected the research was directed with academic rigor. Over 9 months I saw his very methodical approach: we combed through reams of transcripts of dialogue between Gorbachev and other leaders and in parallel looked for interesting corresponding footage. Early on, he had a pretty clear idea of the film’s structure, and that certainly informed the visual material we researched.

Werner’s approach was rather different… He had the ideas in his head and in a small notebook that he took to the interviews with Gorbachev, but it was hard to predict which areas he would explore in the conversations. The same could be said for the edit: we had a pretty good idea of the film’s narrative, but Werner arrived and highlighted many other areas that we hadn’t, and this carved out a different direction.

I learnt quickly to predict nothing with Werner, and to only expect to be surprised!

What was the most challenging part of the archival production?

Our schedule was unforeseeably accelerated during the edit, so this gave us less time to negotiate and finalise deals with archive houses. I’d say the most challenging part, however, was keeping on top of all the material we had coming in – so many spreadsheets! I had to stay on top of where a piece comes from and how to access it, how much we were using from each archive house, all in the middle of an accelerated and naturally constantly changing edit period. It was certainly challenging, but to wish for more time would have been a luxury. This constrained time frame, in fact, helped us to focus more and be a bit more ruthless in negotiation! If something was going to cost too much, we dropped it, and our 6-month old catalog we had assembled often gave us cheaper and better alternatives.

How different is this film from a regular political biopic?

As the film’s title suggests, it is more the “meeting” of Gorbachev and Werner Herzog and the far-reaching conversations they had, rather than a day-by-day of Gorbachev’s life. Having said that, it was important to guide the viewer chronologically given that it was such a short time period (6 years) in which he changed the world. It was also essential to lay out these key moments explicitly for the younger generation – to which I belong – who have little if any memory of his impact on the 21st Century. I think we managed to avoid a regular portrait by highlighting the personal side behind Gorbachev’s political image – his family life, especially his profoundly moving relationship with his wife Raisa, which brings out the human side to a global leader. To add to this, we focused on the lesser-known and arguably pivotal moments of the era – the Hungary-Austria border fence for example. I think André’s all-bases-covered approach to research combined with Werner’s unconventional tendency to pick up on these unexpected areas strongly contributed to “Meeting Gorbachev” being more than a straightforward biopic.

Archive Researchers, Licensing, The Right Footage

Archive Valley Masterclass Series: Jessica Berman Bogdan & Cathy Carapella on Archive Research and Licensing in Music Documentaries


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In recent years, audiences have been captivated by new exciting documentary films about the lives and music of famous musicians and performers from The Beatles, The Grateful Dead and Nina Simone to Amy Winehouse and Nirvana. Jessica Berman Bogdan is a veteran archive producer and the CEO of Global Image Works, where she works together with Cathy Carapella, as music rights and clearances professional. As a team, they have worked on some amazing archival music documentaries, finding and clearing the images and music that made the films possible. 

In this episode of our series, Jessica and Cathy discuss the ins and outs of sourcing and clearing material related to the music industry for documentary film and television productions. From budgeting to understanding the multiple kinds of rights associated with music and live performance footage, they shared some key advice for producers and archive researchers looking to create lasting works about the music, it’s creators and the performers that bring it to life.

More episodes from the masterclass series to come soon! If you want to be the first to know when the next one will become available, simply sign up on the platform and get exclusive early access to all our weekly updates, interviews and videos dedicated to the world of archive research.

Documentary Festivals, Documentary Productions

“This Changes Everything​” World Premiere at TIFF 2018


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Here at Archive Valley, we feel privileged to have among our users some of today’s most exciting and important documentary filmmakers. It is always special when finally the moment comes and a premiere of a production on Archive Valley has been announced. We are happy to share that this year’s Toronto Film Festival will screen the world premiere of “This changes everything” as part of their official selection. Directed by Tom Donahue and produced by Creative Chaos the feature-length documentary explores a monumentally important issue in the entertainment industry – the underrepresentation and misrepresentation of women. The documentary not only provides historical context and empirical evidence about the paradigms sustaining the gender discrimination but also gives the audience hope that change is possible. Here’s the director’s powerful statement about the driving forces behind the production and how he succeeded to show that strong calls to action can be triggered both in the industry and in the society as a whole:

“As a male director, I was keenly aware of the responsibility I had in making this film and that there were too few men speaking up on the issue at all. It affirmed my belief that true change cannot happen if men don’t step up on the issue. As Meryl Streep says in the film, “Change can only happen when men take a stand.” Gender inequality is a problem that our entire society must confront, not just those on the receiving end of the injustice. I intended this film not only as an investigation into workplace discrimination in Hollywood but also as a call to men to be part of the solution. Real and lasting change can only come when grassroots activism works in concert with the powers at the top, whatever the personal or institutional cost. As Melissa Goodman at the ACLU says in the film, “If you are a person with hiring power and you’re not actively working to hire women, then you are part of the problem.

In the first year of making the film, we were introduced to the work of the Geena Davis Institute on Gender in Media. Through Geena and her team, I came to understand the outsized impact the disparity within the small town of Hollywood has on the larger world. When half of a society’s population does not have a voice, the entire culture is degraded. Leaving it awash in a toxic masculinity that rests power in people who are not working in the interest of everyone.

We were fortunate to have many female and male power players in Hollywood sit before our cameras. We had the added fortune of witnessing a new wave feminist movement explode onto the scene while we were shooting. The movement has galvanized the women of Hollywood to take concrete steps toward change. There is growing consensus that the time for talk is over but this is not necessarily new. The film’s title comes out of my second interview with Geena when she speaks of hugely successful female-driven films that exceeded expectations and that many believed would finally cause things to change… and then nothing did. THIS CHANGES EVERYTHING is not meant as just a showcase of the problem but as a call to action to further the cause of the radical change necessary for us to move forward as a culture and as a country.”

The documentary includes interviews with Geena Davis, Meryl Streep, Rashida Jones, Reese Witherspoon, Jessica Chastain, Tiffany Haddish, Natalie Portman, Cate Blanchett, Judd Apatow. Although archival footage was included only in the long version of the film, it proved to be an essential tool for building the narrative. In the director’s words: “Providing historical context is a big part of what we do here at CreativeChaos and Archive Valley proved immensely helpful. It was incredibly beneficial to be able to deep dive into footage from the silent film era, suffragette Movement, second wave feminism…This archive footage helped us immensely with the film’s structure, in bolstering our argument.”

For those of you who are attending TIFF,  “This changes everything premieres” on Saturday, Sept 8, 2018 in Roy Thompson Hall, with a specially organized Q&A session after the screening. Not to be missed!