纪录片自媒体解说素材-新闻动态参考-非小说制片人和董事谈论如何使文档在拥挤的市场中流行/Nonfiction Producers and Directors Talk How to Make Docs Pop in Crowded Marketplace
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0504/0101bmcoen40i4b.jpg非小说制片人和董事谈论如何使文档在拥挤的市场中流行
Nonfiction Producers and Directors Talk How to Make Docs Pop in Crowded Marketplace
纪录片功能和纪录片已成为周围最受欢迎和最有利可图的内容，尤其是对于流媒体而言 - 但是，什么使项目超越了现在淹没市场的非小说类票价的范围呢？这就是顶级文档制作人，导演，交易商和分销商的思想的问题，他们在美国电影市场的前夕都在寻找将区分下一个突破性非小说类项目的秘密要素。在2000年代初期，“三月”企鹅和“华氏9/11”证明，低预算文档可以在票房接近或超过1亿美元，而贾斯汀·比伯（Justin Bieber），迈克尔·杰克逊（Michael Jackson）和一个方向等流行歌手将观众带到了大量的电影院。然后，就像DOC收入返回地球一样，彩带改变了游戏，为非小说类内容付出了巨大的钱来获取订户。 “ Billie Eilish：世界有点模糊”的价格标签（由Doc Powerhouse潜艇Enterge出售Apple TV Plus的Ment and Lighthouse Management）和无标题的Rihanna Doc（通过Endeavor内容出售给Amazon）（在2019年底都以2500万美元的价格收取了大约2500万美元），为Doc Accelients设定了新的标准。而且热门歌曲不断来：几个月后，迪士尼收购了彼得·杰克逊（Peter Jackson）的《甲壳虫乐队：回来》，而在4月，Netflix涉及了据报道3000万美元的多部分Kanye West Doc。彩带正在寻找的内容：订户获取的文档以及保留订户的内容。”卖方/生产商以7500万美元的价格将全球范围内的全球权利出售给了百老汇粉碎的“汉密尔顿”。“前者对流媒体具有最大的价值，因为获取订户非常昂贵。后者通常是广泛的利益纪录片，例如真实犯罪或当前事件，大概阻止订阅者取消其服务。RS正在调试自己的文档和文档系列，使独立生产商的销售变得更加艰难。然而，潜艇联合创始人乔什·布劳恩（Josh Braun）在他的袖子上获得了多个王牌 - 待定并完成了在Led Zeppelin，Martha Stewart，Magic Johnson和其他知名人士上的文档销售。他的销售和生产服装甚至设法从Apple和A24中赚了1200万美元，在没有星星的2020年政治成年电影中，“男孩州”是圣丹斯文档的创纪录价格。 [材料]和一个可以以新的方式讲述的故事，或者人们不知道的故事几乎每次都会引起注意。”布劳恩说。 “我也感到一个个人故事，讲得很好，充满了惊喜和刺激，即使没有超级巨星也可以很好地工作。”另一方面，他指出：“有时[出售]“调查电影”有时是一场斗争，这是一个主题的主题。显然有很棒的电影他，但也许是因为我们经历了如此奇怪的时光，人们更多地与个人故事有关。主题。我们看到传统的讲故事设备应用于非小说类内容。一些最成功的文档是关于在旅途中的个人，他们克服了障碍，并因此而改变了。 Doc“ Free Solo”赢得了奥斯卡奖，几个艾美奖和有史以来前20名票房的位置。他们正在通过第二部国家地理纪录片《救援》（The Rescue）重复取得成功的方式，记录了泰国男孩是如何从淹没世界的故事中从一个被洪水淹没的洞穴中得救的。 “还有更多资源迈向比以往任何时候的纪录片，精心制作的电影仍然与其他电影区分开来。” Vasarhelyi说。下巴补充说：“无论是作曲家，编辑还是我们的混音器，我们都可以与令人难以置信的人接触。” “当您被那么多才华所包围时，会发生一种协同作用。”杰西·莫斯（Jesse Moss）共同掌握了艾美奖获奖的“男孩州”（Boys State），帮助提高了LGBTQ+可见度，从而制作了2019年的Doc“ Gay Chorus”南方”并指挥皮特·巴特吉（Pete Buttigieg）编年史“市长皮特”（Pete Pete）（该纪事会在芝加哥国际电影节上首映，并在11月12日的亚马逊Prime Bow之前在芝加哥国际电影节上首映）。莫斯（Moss）觉得让他的新医生脱颖而出的是“我们必须制作一部真实，无脚本的Vérité电影以及我们拥有的访问权限的自由。我认为访问是市场上的货币。”接下来，他将导演“一种成年故事，冒险和悲剧。这是一个了不起的故事，[获取]访问很难。一个主要的主题，您是否有他们的同意或参与，或者，如果是死后的家庭或遗产的参与？您在文档中没有其他人没有的新信息是什么？对于组装数百个小时的录像的纪录片，制作限量系列并拥有“老虎国王”的诱惑是真实的。但是它可能适得其反。布劳恩说：“一些买家告诉我们，‘我们有点希望纪录片[功能]，因为它几乎就像一系列的淘金热。’ “每个电影制片人都想将它们作为一个多部分组成。他们眼中有美元的迹象，但是很多球场都无法持续一系列。我最好的建议：如果您说自己有八集，请确保您这样做。大多数情况下，它可以归结为三，然后真的很好。和独立发行渴望。这是Foothill Prods提到的第一个激励因素。’杰米·沃尔夫（Jamie Wolf）和纳塔莉·西弗（Nathalie Seaver），他生产了DGA冠军“ The Truffle Hunters”，Peabody-Winner“ Newtown”和Sundance Honoree“ Cusp。” “您看着一个项目和一个主题，‘这可能会赢得一个奖项，因为它在战略上集中精力且经过深思熟虑地讲述了一个故事吗？’” Seaver说，他的《吸毒成瘾纪事》“ Jacinta”刚刚击中了Hulu。沃尔夫补充说：“质量是我们的网格。”买家将在11月10日至28日在曼哈顿举行的Doc NYC的更多质量竞争者搜寻。RossDinerstein，其篝火工作室制作了最近的Doc Streaming Hits“ Wework”，“ Wework”，“歇斯底里”和“天堂之门：邪教，邪教，邪教，邪教，， ”说：“使项目脱颖而出的方法是确保其相关。”为此，篝火强调了人体形象问题和HBO Max Max Diet Cult纪录片中的不健康关系“倒下的道路”。Dinerstein说，制片人也对Thi也很聪明选择主题时，目标受众的NK。除了在摄像机前后寻找更多的多样性外，“大多数彩带都非常专注于观众的女性方面，而真实的犯罪确实引起了人们的共鸣，所以我们看一下这个问题：这是这样的对女性听众很有趣吗？” （他和伊瓦西纳（Iwashina），分别执行执行制作和制作了2011年的文档“ Jiro Dreams of Sushi”，将在11月4日的AFM虚拟面板上有更多的说法，标题为“制作杰出的纪录片”）。 Kiska Higgs说，她的UNI专业部门已与合作伙伴媒体NBC，MSNBC，Sky，Peacock和Universal Pictures Content Group进行了交谈，以成为文档的“类型枢纽”。她笑着说：“我需要一个更好的球场，但是在焦点上，我们只是购买自己喜欢的东西。”与“你不是我的邻居吗？”，2018年罗杰斯先生的电影赚了2300万美元，成为AL的第14大票房l时间，“您只是想与剧院的人们分享回到童年的经历。”随着Discovery Plus和Doc Streaming Services等新平台更多地依赖于常规的委托内容，IFC电影总裁Arianna Bocco看起来很像对于更独特的文档。她说：“ \u200b\u200b[安德里亚·阿诺德（Andrea Arnold）的“牛”（Andrea Arnold）的'牛'扮演着叙事的特征，我觉得它可以与众不同的纪录片，并且在与我们品牌相处的Arthouse Marketplace中有一个存在。”近年来，戏剧性播放的重要性肯定有所减少，但取决于您的要求。瓦萨尔利（Vasarhelyi）说：“如果我们的电影在大屏幕上看到，而后端与直接进入彩带的情况大不相同。”他指出，仅在纽约市的安吉利卡电影中心，“自由独奏”就获得了超过150万美元的收入。 “我有点觉得大流行改变了一切，每个人都应该以任何方式看着它可以，因为这就是电影成功的方式。”山麓的狼同意。她说：“大流行确定的一件事是流媒体的价值，'戏剧第一'的旧层次结构已经过时了。”凯瑟琳·比格洛（Kathryn Bigelow）的“零年”制作了有关受到全球大流行影响的人们的纪录片，并于11月14日在Doc NYC上首映，参与者被指控的高中足球Doc“ Messwood”。 “我们有世界一流的电影制片人的记录，他们能够在我们那个时代最紧迫的问题的角落看到，回到“不便的真相”，这改变了有关气候变化的对话，”参与者的副总裁说。销售与分销，罗布·威廉姆斯（Rob Williams）。一个想改变使文档在市场上脱颖而出的人是瓦萨尔希莉（Vasarhelyi） - 通过更改谁拍摄他们并出现在其中。像她的丈夫和“救援”联合导演CH在她的亚洲血统，并指出他们所处的罕见位置。“纪录片比以往任何时候都多，还有更多的钱，但我会挑战人们看谁在制作该内容。我们如何确保来自不同背景的电影制片人可以访问这些资源？我想负责市场，并看到电影制片人帮助其他电影制片人。”
Documentary features and docuseries have become some of the most popular and profitable content around — especially for streamers — but what makes a project rise above the sheer volume of nonfiction fare now flooding the marketplace? That’s the question on the minds of top doc producers, directors, dealmakers and distributors who, on the eve of the American Film Market, are all searching for the secret ingredients that will distinguish the next breakout nonfiction projects.
In the early 2000s, “March of the Penguins” and “Fahrenheit 9/11” proved that low-budget docs could approach or surpass $100 million at the box office, and pop stars like Justin Bieber, Michael Jackson and One Direction brought their audiences to movie theaters in big numbers. Then, just as doc revenue came back to Earth, streamers changed the game, paying big bucks for nonfiction content to gain subscribers. The price tags of “Billie Eilish: The World’s A Little Blurry” (sold by doc powerhouse Submarine Entertainment and Lighthouse Management to Apple TV Plus), and an untitled Rihanna doc (sold by Endeavor Content to Amazon) — each picked up for around $25 million in late 2019 — set a new standard for doc acquisitions. And the hits just keep on coming: a few months later, Disney acquired Peter Jackson’s “The Beatles: Get Back,” and in April, Netflix nabbed a multi-part Kanye West doc for a reported $30 million.
“There are two general categories of content that streamers are looking for: docs for subscriber acquisition, and for subscriber retention,” says Endeavor Content senior VP of documentary Kevin Iwashina. The seller/producer sold worldwide rights to the Broadway smash “Hamilton” to Disney for $75 million. “The former have the most value to streamers, because acquiring subscribers is very expensive. The latter are generally broad interest documentaries, like true crime or a current event, which presumably prevent subscribers from cancelling their service.”
More streamers are commissioning their own docs and doc series, making sales a bit tougher for indie producers. Yet Submarine co-founder Josh Braun has several aces up his sleeve — pending and completed sales of docs on Led Zeppelin, Martha Stewart, Magic Johnson and other big names. His sales and production outfit even managed to nab $12 million from Apple and A24 for a 2020 political coming-of-age film with no stars, “Boys State,” a record price for a Sundance doc.
“If you have access to great archival and a story that can be told in a new way, or one that people don’t know, that’s going to get attention almost every time,” Braun says. “I also feel a personal story that’s told well and filled with surprises and thrills and a sort of innate, intense emotional truth — even if there’s no superstar — can work really well.” On the other hand, he notes, “it’s sometimes a struggle ‘survey films,’ made about a topic with examples of a topic. There are obviously great films that do this, but perhaps because we’re living through such a weird time, people are relating to personal stories more.”
Iwashina thinks the commercialization of docs is leading consumers to “expect an experience similar to that of narrative content, with sympathetic characters and recognizable subjects. We’re seeing traditional storytelling devices being applied to nonfiction content. Some of the most successful docs are about individuals on a journey who have obstacles they overcome and are changed because of it, for better or for worse.”
Few doc directors have captured journeys as well as E. Chai Vasarhelyi and Jimmy Chin, whose 2018 doc “Free Solo” won an Oscar, several Emmys and a spot among the top 20 grossing docs of all time. They are on the way to repeating that success with their second National Geographic Documentary Films feature, “The Rescue,” chronicling how Thai boys were saved from a flooded cave in a story that gripped the world. “There are more resources going towards documentary films than ever, and well-crafted films still distinguish themselves from the rest,” Vasarhelyi says. “We have access to incredible people, whether it’s composers or editors or our mixer,” adds Chin. “When you’re surrounded by that much talent, there is a kind of synergy that happens.”
Jesse Moss, who co-helmed the Emmy-winning “Boys State,” helped raise LGBTQ+ visibility by producing the 2019 doc “Gay Chorus Deep South” and directing the Pete Buttigieg chronicle “Mayor Pete” (which premiered at the Chicago Intl. Film Festival and NewFest before its Nov. 12 Amazon Prime bow). Moss feels that what makes his new doc stand out is “the freedom we had to make a true, unscripted vérité film, and the access we had. I think access is currency in the marketplace.” Next up, he’s directing a “kind of coming-of-age story, an adventure and a tragedy. It’s an amazing story, and access is hard.”
But in this market, Iwashina says, it can be essential: “If you’re covering a major subject, do you have their consent or participation or, if it’s posthumous, the participation of their family or estate? What’s the new, exclusive piece of information you have in your doc that others don’t? Is it home videos or footage?”
For docmakers who assemble hundreds of hours of footage, the temptation to do a limited series and have a “Tiger King”-size success is real. Yet it may be counter-productive. “Some of the buyers tell us, ‘We’re kind of hoping for documentary , because it’s almost like a series gold rush,’” Braun says. “Every wants to do them as a multi-part. They have dollar signs in their eyes, but a lot of the pitches just don’t sustain as a series. My best advice: if you say you have eight episodes, make sure you do. Most of the time it can be boiled down to three, and then it’s really good.”
One of the main reasons a film like “Boys State” can nab a $12 million deal is the promise of a spot in the awards race, something streamers and indie distribs crave. It’s the first motivating factor mentioned by Foothill Prods.’ Jamie Wolf and Nathalie Seaver, who exec produced the DGA-winner “The Truffle Hunters,” the Peabody-winner “Newtown” and Sundance honoree “Cusp.” “You look at a project and a topic with an eye towards, ‘Will this possibly win an award, because it’s so strategically focused and thoughtfully told as a story?’” says Seaver, whose drug addiction chronicle “Jacinta” just hit Hulu. “The quality is our grid,” Wolf adds. Buyers will be scouting for more quality contenders at DOC NYC, held Nov. 10-28 in Manhattan.
Ross Dinerstein, whose Campfire Studios produced the recent doc streaming hits “WeWork,” “Hysterical” and “Heaven’s Gate: The Cult of Cults,” says that “the way to make a project stand out is making sure it’s relatable.” To that end, Campfire emphasized body image issues and unhealthy relationships in the HBO Max diet cult docuseries “The Way Down.”
Dinerstein says producers would also be smart to think of their target audience when choosing subject matter. In addition to looking for more diversity in front of and behind the camera, “most of the streamers are very focused on the female side of their audience, and true crime really resonates with them, so we look at that question: Is this going to be interesting to a female audience?” (He and Iwashina, who, respectively, exec produced and produced the 2011 doc “Jiro Dreams of Sushi,” will have more to say at the Nov. 4 AFM virtual panel titled Producing Standout Documentary Features).
Focus Features president of production and acquisitions Kiska Higgs says her Uni specialty division has talked with partner outlets NBC, MSNBC, Sky, Peacock and Universal Pictures Content Group about becoming “a hub of sorts” for docs. “I need a better pitch, but at Focus, we just buy what we like,” she says with a laugh. With “Won’t You Be My Neighbor?,” the 2018 Mister Rogers film that earned $23 million and became the 14th highest grossing doc of all time, “you just felt like you wanted to share that experience of going back to your childhood with people in the theater.”
As new platforms like Discovery Plus and doc streaming services rely more on conventional commissioned content, IFC Films president Arianna Bocco looks for docs that are more distinctive. “ ‘Cow’ plays like a narrative feature,” she says, “and I felt like it could stand apart from just being an issue-oriented documentary and have a presence in the arthouse marketplace that aligns with our brand.”
The perceived importance of a theatrical run has certainly lessened in recent years, but it varies depending on who you ask. “If our films are seen on a big screen, the backend is very different than if it goes straight to a streamer,” says Vasarhelyi, who notes that “Free Solo” earned more than $1.5 million at NYC’s Angelika Film Center alone. “I kind of feel like the pandemic changed all of it, and everyone should watch it any way they can, because that’s how movies succeed.” And Foothill’s Wolf agrees. “One of the things the pandemic established was the value of streaming, and that the old hierarchy of ‘theatrical first’ is kind of outdated,” she says.
This year, AFM will offer docs with personal takes on big subjects, like Endeavor Content’s “Year Zero,” a Kathryn Bigelow-exec produced docuseries about people affected by the pandemic around the globe, and Participant’s racially charged high school football doc “Messwood,” which premieres Nov. 14 at DOC NYC. “We have a track record of world-class filmmakers who are able to see around the corners of the most pressing issues of our time, going back to ‘An Inconvenient Truth,’ which changed the conversation about climate change,” says Participant’s VP, sales & distribution, Rob Williams.
One person who wants to change what makes docs stand out in the marketplace is Vasarhelyi — by changing who films them and appears in them. Like her husband and “Rescue” co-director Chin, she’s of Asian descent, and notes the rare position they’re in. “There are more outlets than ever for documentaries, and there’s more money, but I would challenge people to look at who’s making that content. How do we make sure that filmmakers from different backgrounds have access to those resources? I want to hold the marketplace accountable, and see filmmakers help other filmmakers.”
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谢谢更新，天天学习，天天向上！ 谢谢楼主分享，发现宝藏了。 谢谢楼主分享，发现宝藏了。
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