A few days ago, I announced the long-awaited release of my film “Searching for Mr. Rugoff” (long-awaited by me, anyway). It’s been a protracted journey with many twists. I’ve begun to reflect on the many decisions I made along the way–fortunate and not–and thought some of it might be instructive for others (the teacher comes out in me!)
The project itself was years in the making, and at many points I wondered if it would ever actually add up to anything. I was once told that narrative features are a sprint, but that documentaries are a marathon. Trite but true. There were many times when I thought the film was as good as it could be, only to get feedback that made me take yet another look, leading to yet another version. The process was often frustrating and infuriating, but with each iteration, it seemed to get better. I had work-in-progress screenings for the students at Columbia, at the offices of Kartemquin Films in Chicago, at the Michigan Theater in Ann Arbor, and at the 2019 Art House Convergence. And while audience reactions were very encouraging, I always walked away with more notes—sometimes completely contradictory. Continue reading “A Little Glimpse Behind the Scenes of the Release of My Doc”
This article was originally published in the Winter 2013 issue of Filmmaker Magazine.
Over the last decade, as the tools of filmmaking became less expensive and more generally accessible, there was much excitement about what came to be known as the “democratization” of filmmaking. Suddenly, one didn’t have to be rich or the relative of a studio executive to get a movie made. In addition, web sites such as YouTube and others opened up distribution to the masses, creating a new paradigm that was dubbed “user-generated content.”
All of this sounded great on the surface, but like other seemingly positive advances—remember the “thousand channel universe” or the “long tail theory?”—there are always unintended consequences. While it was true that more people were making “movies” than ever, I would characterize the change not as democratization, but rather as “amateurization.” These market forces—an oversupply of product and seemingly endless channels of accessible distribution—caused the bottom to drop out of the professional marketplace. Content in all its forms was being commoditized. Why should distribution channels pay for content when it could be provided for free? If audiences could be attracted by offering them quantity, why worry about quality? In other words, the so-called democratization of filmmaking was ensuring that no one could make a living at it. Continue reading “The New Professionalism – A Flight Toward Quality”