PALEY CENTER FOR MEDIA, THE: DOCFEST 2010: THE ART OF THE DOCUMENTARY PITCH WORKSHOP 2010 {LONG VERSION}
Summary
One in a series of evenings and special screenings presented as part of The Paley Center for Media’s DocFest 2010, honoring documentaries and documentary filmmakers. Held at the Paley Center in New York, this seminar sees five documentary filmmakers pitching their ideas for documentaries before a panel as part of an annual competition, who decide which one will receive a grant to aid its completion. Ron Simon (curator, The Paley Center for Media) offers opening remarks.
He then introduces the panelists: Diana Hotlzberg (vice president of acquisitions product development and sales for Films Transit International); Simon Kilmurry (executive director, POV); Lauren Lazin (filmmaker); Andrew Mer (vice president of content partnerships, Snag Films); Molly Thompson (programming director, A&E Indie Films); and Susan Werbe (executive producer of programming, History).
Topics of discussion include: the state of documentary filmmaking in 2010; how documentary development processes have changed with the advent of new technologies; the criteria for a good documentary pitch; and changing demographics for documentaries on network television.
After the discussion, the pitches begin, starting with Mike Plunkett and his film “Charge.” “Charge” concerns the internal and international conflict over Bolivia’s massive lithium reserves, used in batteries for mobile devices and hybrid electric vehicles. He explains that Bolivia’s socialist government has severely limited exportation of its lithium. His characters include a native man who lives on the Salar de Uyuni, the largest salt flat in the world, a lithium-rich land. Plunkett shows a clip from his proposed film following the native man as he collects salt from the Salar de Uyuni to sell as table salt. He is passionate about his work as a salt-collector. The film clip displays a series of clips from advertisements for American hybrid automobiles, which use lithium batteries. Further clips demonstrate America’s shift from oil-based to lithium-based cars. The discovery of vast quantities of lithium in Bolivia prompts intense interest from the international community, but the local man fears that their interest could end disastrously. After the clip, Plunkett elaborates on other characters that will appear in his film, such as the head of Bolivia’s lithium mining operation and the journalist who first broke the story of Bolivia’s lithium deposits to the world. The panelists then offer criticism of Plunkett’s pitch and ask him questions about the film, including its proposed length; the actions of the Bolivian government; how the global economic situation affects Bolivia and its lithium; and Plunkett’s interview with Bolivian President Evo Morales.
Next, Elisabeth Sperling pitches her documentary, entitled “One Night Stand,” documenting an annual competition amongst Broadway talent to write, produce, and perform a short musical in twenty-four hours. Sperling describes it as “‘A Chorus Line’ meets ‘Project Runway.’” The film is shot in cinema verite style, detailing the highs and lows of the writers, composers, and actors involved. Sperling explains that the idea of the documentary is to show an entire idea and the execution of that idea in one chaotic, intense motion. She showcases clips from her proposed film showing various stages of the creation process, including the auditions, casting, writing, rehearsal, and the final performance. After the clip, the panelists offer their criticism of Sperling’s pitch and ask questions, including: what specific characters Sperling intends to follow; what she intends to use the grant money for; if she has the rights to the music in the film; how Sperling obtained initial funding for the film; the musicals’ association with charity; and events associated with the documentary.
Brian Chang, representing the Meerkat Media Collective, pitches his documentary “Brasslands,” about the world’s biggest brass instrument festival, held annually in a tiny Serbian town called Guca. People gather to this festival from far and wide, all with different goals and motivations, and the documentary examines some of the personal stories behind this grand event. Chang displays his clip, showing a Balkan-style brass band called Zlatne Uste from New York City preparing for the festival. It is the first time that the festival has held a non-Serbian band competition, and Zlatne Uste is determined to prove their mettle on behalf of the United States. It is clear that Serbia is resentful of the Americans due to the 1999 NATO bombing of Yugoslavia, and Zlatne Uste hopes not to provoke hostility from the native Serbians. After the clip, Chang speaks further about the characters his film will follow; the cultural context of the film; the interweaving storylines the film will incorporate; and the film’s large production team. The panelists offer their criticism of Chang’s pitch and questions, including: the potential foreign market for the film; the film’s unique subject matter; the benefits and dangers of using an “ensemble directorship” to make the film; and how far the film is into post-production.
Next, Julie Kahn pitches her documentary “Swamp Cabbage,” about a woman named Hayley Downs who returns to her home in the backwater swamps of Florida to aid her dying father and reconnects with the Floridian wilderness in an attempt to understand him and her native culture. Kahn shows footage from the film, including the trailer where Downs briefly gives her biography. The clip also spotlights Buck Mitchell, a “5th Generation Floridian” who takes pride in his identity as a “cracker.” After the clip, Kahn discusses the tone of the film; the film’s general storyline; the level of access the filmmakers had to Downs’s life and Floridian culture; and how the films’ producers plan to raise money. The panelists offer their criticism of Kahn’s pitch and ask questions, including: the meaning of the term “cracker”; and what the true focus of the film should be.
Finally, Catherine Czubeck pitches her film “A Girl and a Gun,” documenting the growing trend of women armed with guns in the United States. After a brief introduction, Czubeck shows footage from her film, which gives a taste of the growing cultural awareness of women using guns from both a historical and a personal perspective, relating it to cultural depictions of women. Several individuals talk about their experiences with firearms, including anti-violence activist Stephanie Alexander. Her daughter was shot and paralyzed, prompting her activism and lobbying for gun law reform. Sales coordinator and gun enthusiast Jennifer Cheung also speaks about how shooting a gun can help relieve stress. After the screening, Czubeck describes the characters she spotlights in her film; talks about the social and cultural context she creates for the film; speculates on the film’s potential target audiences; and talks about the organizations supporting the film’s release. The panelists offer their criticism of Czubeck’s pitch and questions, including: the presence of “talking heads” in Czubeck’s trailer; and the uncertain focus of the films’ subject matter.
While the panelists go to deliberate on their choice for the winner, a short mockumentary film is shown, called “Los 4 McNifikos“, about a trio of inept Spanish break-dancers. After the screening, the panelists return and announce their decision: they grant an honorable mention to Sperling’s “One Night Stand,” and Plunkett’s “Charge” is awarded the grant. The panelists discuss their decision and offer their final thoughts.
Details
- NETWORK: N/A
- DATE: October 16, 2010 2:00 PM
- RUNNING TIME: 2:04:15
- COLOR/B&W: Color
- CATALOG ID: 103598
- GENRE: Seminars
- SUBJECT HEADING: Asian American Pacific Islanders Collection
- SERIES RUN: N/A
- COMMERCIALS: N/A
CREDITS
- Ron Simon … Host, Moderator
- Diana Holtzberg … Panelist
- Simon Kilmurry … Panelist
- Lauren Lazin … Panelist
- Andrew Mer … Panelist
- Molly Thompson … Panelist
- Susan Werbe … Panelist
- Mike Plunkett … Guest
- Elisabeth Sperling … Guest
- Brian Chang … Guest
- Julie Kahn … Guest
- Catherine Czubeck … Guest
- Stephanie Alexander
- Jennifer Cheung
- Hayley Downs
- Evo Morales