Last week, realscreen published my two-part report on the economic pressures facing today's doc makers. I've been working on this story since December, and to see it out in the world is - to say the least - very exciting.
The first part is entitled "Documentary pays? The price of filmmaking" and features interviews with The Overnighters director Jesse Moss and The Luckiest Nut in the World helmer Emily James. As well, there is recent research from the Whicker's World Foundation's "Cost of Docs" report, and some preliminary findings from a forthcoming study by the Center for Media & Social Impact.
The second part, "Documentary pays? A field-wide responsibility," focuses largely on the funders' perspective, and includes insights from reps from the Sundance Institute, Britdoc and the International Documentary Association, as well as Paradise Lost director Joe Berlinger and Jesse Moss.
I pursued this story because I was curious how some of the docs I was covering were getting made in such a competitive climate for non-fiction. I also wondered why few spoke openly about this issue, given that - as the CMSI study and WWF survey results show - it appears to be systemic and affects doc makers of all backgrounds and experience levels.
Given how the report has been discussed and shared by the doc community in the last few days, it's clear this conversation has only just begun, and I look forward to further dialogue. Watch this space for continued coverage. And thanks, as always, for reading!