纪录片自媒体解说素材-新闻动态参考-戴维斯·古根海姆（Davis Guggenheim）如何将Concordia Studio变成Doc Powerhouse/How Davis Guggenheim Turned Concordia Studio Into a Doc Powerhouse
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0507/2755afqsv0maagx.jpg戴维斯·古根海姆（Davis Guggenheim）如何将Concordia Studio变成Doc Powerhouse
How Davis Guggenheim Turned Concordia Studio Into a Doc Powerhouse
艾哈迈尔（Ahmir）的“ Questlove”汤普森（Thompson）的“灵魂之夏（或当革命无法进行电视转播）在7月2日在剧院上映，同时在Hulu的流媒体服务上发行，这是L.A.--著名纪录片中的最新信息。自去年年初正式推出以来，基于Concordia Studio。Concordia在2020年在Sundance举行的2020年美国纪录片比赛中抢购了16个老虎机的四分之一，并与杰西·莫斯（Jesse Moss）和阿曼达·麦克贝恩（Amanda McBaine）的“男孩州”（Amanda McBaine）的“男孩州”（A24）和苹果电视（Apple TV）达成了一笔纪录的交易。 。加勒特·布拉德利（Garrett Bradley）的《时间》（Time）（像“男孩州”（Boys State）”在圣丹斯（Sundance）赢得了奖项，被亚马逊制片厂（Amazon Studios）接收，并获得了奥斯卡提名。与此同时，拉莫纳·S·迪亚兹（Ramona S. Diaz）的“一千个削减”获得了哥谭奖。今年在圣丹斯（Sundance）获得了两个奖项，而不是超过“ Soumm of Soul of Soul”，打破了“男孩州立大学”的记录分配协议，超过1200万美元来自迪士尼拥有的探照灯和Hulu，这是有史以来纪录片鞠躬的最多的在节日。这部纪录片是关于1969年哈林文化节的，标志着Questlove的著作导演，是根源的鼓手，这是任何制作公司的令人愉悦的开始，并反映了Concordia对非小说故事的深刻承诺。奥斯卡获奖导演戴维斯·古根海姆（Davis Guggenheim）三年前在亿万富翁慈善家劳伦·鲍威尔·乔布斯（Laurene Powell Jobs）的支持下创立了该公司，这是苹果联合创始人史蒂夫·乔布斯（Steve Jobs）的遗ow，并担任首席创意官，并担任参与者媒体兽医乔纳森·金（Jonathan King）在康科迪亚（Concordia）在2020年初发布正式推出之前，是首席创意官的叙述。“对我们来说，这总是有意义的故事，可以创造文化对话，”康科迪亚（Concordia）执行副总裁非小说类《妮可·斯托特》（Nicole Stott）解释说，奥斯卡获奖纪录片《赢得了奥斯卡奖》纪录片“搜索Sugarman”，他们是从激情图片来到Concordia的”。 “但是我们也真的想吸引观众。我们认为我不认为我这是一个坏词，但这是关于找到适当的平衡。”换句话说，俗话说：“如果您有消息，请打电话给西联盟”，而不是康科迪亚。根据制作公司的非小说类公司副总裁乔纳森·西尔伯格（Jonathan Silberberg）的说法，生产公司以社交弯曲的方式支持项目，但他们对可以吸引观众的好故事最感兴趣。“我们认为最好的故事通常具有意义，” Silberberg解释说。制作了2011年奥斯卡提名的纪录片“ Paradise丢失了3：炼狱”。 “因此，从这个意义上讲，（我们的电影是）社会问题（相关），但我们认为非小说类经常必须承担解决世界的负担。因此，当我们说我们要讲故事时，我们的意思是我们坚持要从讲故事开始，然后如果做得很好，其余的就会随之而来。”彩带肯定会注意到。杂志的发行版《杂志的“准备就绪”，关于在边境巡逻队中考虑职业的青少年和彼得·尼克斯（Peter Nicks）的医生U关于奥克兰高中2020年级的题为“居室”的班级也于今年在圣丹斯首次亮相，后者卖给了Hulu。 Concordia还在Tribeca电影节上首次亮相了两个文档：Dan Chen的“接受”，关于高风险的大学招生，以及Bing Liu和Joshua Altma的“所有这些儿子”，关于芝加哥的社区对枪支暴力的反应。西尔伯格（Silberberg）与古根海姆（Guggenheim）一起做出了一些冒险的选择。一个人正在向两页的高中男孩提供开发资金，参加了一次模拟选举。那个音调会变成“男孩状态”。在纸面上看到一个项目中的价值看上去并不性感或未来圣丹斯竞标战争的东西使康科迪亚变得独一无二。我是导演，”古根海姆解释说，他因“不便真相”赢得了奥斯卡奖。 “因此，当一个项目进来时，我们不会将其视为业务SS决定。我的意思是我们考虑一下，说：“这是一项不错的投资吗？”但是我们真正从中开始的是，“这会很棒吗？”我们从那里开始。关于迷幻药的幻影；关于1977年的恩菲尔德·波特吉（Enfield Poltergeist）的“事件”激发了流行恐怖电影的启发； Concordia又有一个关于纳瓦霍国家警察局的无标题项目。除了资金和生产非小说类内容外，Concordia致力于通过公司的奖学金计划多样化纪录片。它的居住计划是为了支持新兴的，多样化的电影制片人的创建。 “时间”导演布拉德利（Bradley）是第一批研究员之一。“非小说类世界已经由白人主导了太长时间了，而且每个人都意识到的估计正在发生，”古根海姆（Guggenheim）说。 “问题是您如何回应？我们的感觉是我们要建立下一代不同的电影制片人。所以，THE奖学金计划刚刚开始这样做。这只是其中的一小部分。”
Ahmir "Questlove" Thompson’s “Summer of Soul (…Or, When The Revolution Could Not Be Televised),” released nationwide in theaters July 2 and simultaneously on Hulu’s streaming service, is the latest in a series of high-profile documentaries from L.A.-based Concordia Studio since it formally launched early last year.
Concordia snagged a quarter of the 16 slots in the 2020 U.S. documentary competition at Sundance and landed a then record-breaking deal for Jesse Moss and Amanda McBaine’s “Boys State” with A24 and Apple TV. Garrett Bradley’s “Time,” which like “Boys State” won an award at Sundance, was picked up by Amazon Studios and went on to become nominated for an Oscar. Ramona S. Diaz’s “A Thousand Cuts,” meanwhile, won a Gotham Award.
Not to be outdone, “Summer of Soul” scored two awards at Sundance this year, and broke “Boys State’s” record distribution deal, nabbing more than $12 million from Disney-owned Searchlight and Hulu, the most ever for a documentary bowing at the fest. The documentary, about the 1969 Harlem Cultural Festival, marks the feature directing of Questlove, as the drummer for the Roots is commonly known.
It’s a heady start for any production company and reflects Concordia’s deep commitment to nonfiction storytelling. Oscar-winning director Davis Guggenheim founded the company three years ago with the backing of billionaire philanthropist Laurene Powell Jobs -- the widow of the Apple co-founder Steve Jobs -- and serves as chief creative officer nonfiction, while Participant Media vet Jonathan King, who joined ahead of Concordia’s formal launch in early 2020, serves as chief creative officer narrative.
“For us it’s always about a meaningful story that can create cultural conversation,” explains Nicole Stott, Concordia executive VP nonfiction, a producer on the Oscar-winning documentary “Searching for Sugarman” who came to Concordia from Passion Pictures. “But we also really want to reach audiences. We don’t think commercial is a bad word, but it’s about finding the right balance.”
In other words, as the old saying goes, “If you've got a message, call Western Union” -- not Concordia. According to the production company’s exec VP of nonfiction Jonathan Silberberg, while the production house backs projects with a social bend, they are most interested in good stories that can entertain audiences.
“We think that the best stories generally have meaning,” explains Silberberg, who produced the 2011 Oscar-nominated documentary “Paradise Lost 3: Purgatory.” “And so in that sense, (our films are) social issue (related) but we think that that nonfiction too often has to bear the burden of fix the world. So, when we say we are about storytelling we mean that we insist on starting with the storytelling and then the rest will follow if it’s done well.”
The streamers are certainly noticing. And the releases keep coming.
Massie Crow’s “At the Ready,” about teens who contemplate careers in border patrol, and Peter Nicks’ docu about Oakland High School’s class of 2020 titled “Homeroom” also debuted at Sundance this year, the latter selling to Hulu. Concordia also debuted two docs at Tribeca Film Festival: Dan Chen’s “Accepted,” about the high-stakes quest for college admissions, as well as Bing Liu and Joshua Altma’s “All These Sons,” about a Chicago’s community response to gun violence.
Stott and Silberberg have made some risky choices alongside Guggenheim. One was giving development funds to a two-page pitch about high-school boys competing in a mock election. That pitch would turn into “Boys State.” Seeing the value in a project that, on paper, doesn’t seem sexy or the stuff of a future Sundance bidding war is what makes Concordia unique.
“The secret sauce is that Jonathan made and produced his own movies and Nicole's made movies for years and I'm a director,” explains Guggenheim, who won an Oscar for “An Inconvenient Truth.” “So, when a project comes in, we don't think of it as a business decision. I mean we think about it and say, ‘Is this a good investment?’ But what we really start with is, ‘Could this be great?’ And we go from there.”
Currently, Concordia is in production on three docuseries: “Phantastica” about psychedelics; “The Happenings” about The Enfield Poltergeist of 1977 that inspired popular horror movies; and an untitled project about the Navajo Nation Police Department.
In addition to funding and producing nonfiction content, Concordia is dedicated to diversifying the documentary landscape through the company’s fellowship program. Its artist-in-residency program was created to support up-and-coming, diverse filmmakers; “Time” director Bradley was among the first group of fellows.
“The nonfiction world has been dominated by white men for too long, and there's a reckoning that's happening that everyone is aware of,” says Guggenheim. “The question is how do you respond? And our feeling is we want to build the next generation of diverse filmmakers. So, the fellowship program it's just starting to do that. It's just one little piece of it.”
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