如何“成为库斯托”制作人故事集团汇集了其强大的纪录片管道
How ‘Becoming Cousteau’ Producer Story Syndicate Built Up Its Powerful Documentary Pipeline
纪录片《电力夫妇》（Docordary Power Vouch）（导演利兹·加布斯（Liz Garbus）和制片人/金融家丹·科根（Dan Cogan））启动了故事集团，而且制作公司已经有四部电影竞争了奥斯卡奖的考虑，这是这个奖项季节。 Doc“成为Cousteau”，今天在剧院开幕，Story Syndicate还落后于另外三部奥斯卡合格的纪录片：John Hoffman和Janet Tobias的“ Fauci”（国家地理）（Orlando von Einsiedel的“融合：危机：危机中的勇气”）和杰西·莫斯（Jesse Moss）的“市长皮特”（Amazon）。该公司还制作了Ry Russo-Young的“核心家庭”，这是一个HBO三部分系列，讲述了面临亲子诉讼的女同性恋妈妈，以及Erin Lee Carr的“ Britney vs Spears”，这是一个Netflix Title，调查了Britney Spears的Netflix标题，Britney Spears'skearship.garbus and Cogan发射了这家总部位于布鲁克林的制作公司于2019年6月只有三个项目 - HBO的“我将be在黑暗中走了，”亚马逊的“全部：民主之战”和Netflix的“无辜档案”的三集。 （加布斯（Garbus）在每个项目中都参与其中。）虽然生产中心最初以基于Garbus的项目支持，但目标一直是使故事集团成为各种各样的电影制片人的基地； Story Syndicate在制作中有17个项目，在2021年有6个项目。他们的职业生涯都在启动故事集团时蓬勃发展：Garbus - Garbus - 艾美奖获奖和两次获得奥斯卡奖提名的导演 - 刚刚完成了一家真正的犯罪纪录片HBO标题为“谁杀死了加勒特·菲利普斯（Garrett Phillips）”，并正在为Netflix制作她的第一个叙事项目“迷失女孩”。同时，科根（Cogan）在他的第13年担任Impact Partners的执行董事，这是一家纪录片融资公司，他继续担任咨询角色。在2018年，他因制作Netflix的兴奋剂Docu“ Icarus”而获得了奥斯卡金像奖。国王的“变化”故事集团主要是从他在医生市场中看到的海移出生的。文档和纪录片。”科根解释说，他与妻子一起担任联合主席。 “因此，对我来说似乎很清楚，未来将是为彩带制作电影和系列而不是独立制作和融资的电影和系列，这是我在影响力上所做的。”加布斯（Garbus）想在叙事电影制作方面锻炼职业，同时还保持着自己在Doc Space的根源。“当您制作脚本电影时，您完全被吸尘了宇宙，” Garbus解释说。 “作为导演，我希望能够做到这一点，但是我的内心和职业都在纪录片中。所以，我当时想，“你怎么管理？’事实证明，答案就在她面前。Ave是一个合作伙伴，如果我正在制作脚本电影，仍然处于足够高的水平，以至于他们可能会谈论我可能想做的其他事情，或者如果有一个我正在制作的项目，但没有指导，他们我知道，我知道这将满足高管的高水平。”加布斯说。 “因此，我正在与各种制片人开会，然后，我不记得确切的时刻，就像我等一下。 1996 - 98年Accusoft Inc.，All Rightnational Geagraphic的全球脚本内容和纪录片的执行副总裁Carolyn Bernstein与Garbus和Cogan合作，均与“成为Cousteau”和“成为“成为Cousteau”和“”的COGAN合作，这是Accusoft Inc. 1996-98 Accusoft Inc. fauci。”虽然“库斯托”是由纳特·吉奥（Nat Geo）委托的，但伯恩斯坦（Bernstein）赢得了一场竞标“ fauci”的竞标战。伯恩斯坦（Bernstein）认为“福基（Fauci）”，这是一部有关传染病专家安东尼·福克（Anthony Fauci）的电影，这是一部完美的“品牌合适”，但也想与故事又是辛迪加。伯恩斯坦说：“ Fauci”和“成为Cousteau”，实际上，到目前为止我一直在工作的每个文档中，都有很多问题解决。” “出现棘手的情况，在这些情况下，Dan确实是理想的伴侣，因为他擅长解决问题并找出解决方案。该公司拥有25名员工，其中包括三名内部生产商 - 凯特·巴里（Kate Barry），内尔·康斯坦丁（Nell Constantinople）和杰克·扬尔森（Jack Youngelson），以及创意乔恩·巴丁（Jon Bardin）的负责人。在同一屋顶下是后期制作设施。众议院中产生了75％的故事集团内容，然后带到各个平台，然后将其资助。一家人，”她的第一张文件。“一开始我很害怕，因为我对纪录片融资一无所知，我的印象是Oing非常困难。” Russo-Young说。 “但是最终发生的事情确实非常快，我认为很大程度上是因为丹认识合适的人。关于丹的事情是，他既具有创造力又令人难以置信的战略性，这是在生产者中找到的一种罕见的组合。他说：“纪录片的公司时代而不是纪录片的黄金时代。“许多正在融资的电影都是由平台融资的，这些平台都有他们自己的目标和算法，他们要关注的是他们自己的目标和算法。” “因此，作为制作人，您要做的就是平衡您所相信的事物，并且您认为确实要制作的东西和在这种环境中可能是商业化的事物。伟大与创新，强大和重要的事物之间的维恩图，并在一个中与世界说话有时，他继续说：“这意味着您不为平台制作电影，而是独立制作。”管道中的项目包括：Apple TV Plus'呼叫表：好莱坞的黑人领先妇女和“呼叫表上的第一名：好莱坞的黑人领先男人”关于电影界的黑人成就，马克西姆·波兹德罗夫金（Maxim Pozdorovkin）的反犹太主义特色doc“ conspiracy”和netflix docu rollercoaster gamestop由Reddit上的一群零售商人引起的股票波动。Story Syndicate正在制定非小说和小说头衔，但这对夫妇坚\u200b\u200b持认为，公司的身份“始终将属于真实的故事”。“我们了解如何在娱乐中讲述这些故事戏剧性的方式，是角色驱动的，说明了我们生活的世界，而且有意义。”科根说。本身是私募股权公司或流媒体的，答案正在响起 - 现在无论如何。“没有人可以告诉我们做任何事情，没有人能告诉我们不要做任何事情。这就是我喜欢它的方式。”
It’s been just over two years since documentary power couple -- director Liz Garbus and producer/financier Dan Cogan -- launched Story Syndicate, and already the production company has four films contending for Academy Award consideration this awards season.
In addition to producing Garbus’ National Geographic doc “Becoming Cousteau,” opening in theaters today, Story Syndicate is also behind three additional Oscar qualified documentaries: John Hoffman and Janet Tobias’ “Fauci” (National Geographic), Orlando von Einsiedel’s “Convergence: Courage in a Crisis” (Netflix) and Jesse Moss’ “Mayor Pete” (Amazon). The company also produced Ry Russo-Young’s “Nuclear Family,” an HBO three-part series about lesbian moms facing a paternity lawsuit, and Erin Lee Carr’s “Britney vs Spears,” a Netflix title investigating Britney Spears’ conservatorship.
Garbus and Cogan launched the Brooklyn-based production company in June 2019 with just three projects in the works – HBO’s “I’ll Be Gone in the Dark,” Amazon’s “All In: The Fight for Democracy” and three episodes of Netflix’s “The Innocence Files.” (Garbus was involved directorially in each project.) While the production hub initially backed Garbus-based projects, the goal has always been to make Story Syndicate a home base for a wide array of filmmakers; Story Syndicate has 17 projects in production and six in paid development in 2021.
Both of their careers were thriving when they launched Story Syndicate: Garbus – an Emmy-winning and two-time Oscar-nominated director -- had just completed a true crime docuseries for HBO titled “Who Killed Garrett Phillips” and was working on her first narrative project “Lost Girls” for Netflix. Cogan, meanwhile, was in his 13th year serving as an executive director of Impact Partners, a documentary film funding company where he continues to have an advisory role. In 2018 he garnered an Academy Award for producing Netflix’s doping docu “Icarus.”
While Cogan admits that he was looking for “a change,” Story Syndicate was primarily born out of a sea shift he saw happening in the doc market.
“I was paying attention to the fact that the streamers were buying fewer and fewer films and instead were making (their own) docs and docuseries,” explains Cogan, who serves as co-president along with his wife. “So, it seemed clear to me that the future was going to lay in actually making films and series for the streamers as opposed to making and financing them independently and selling them, which is what I was doing at Impact.”
For her part, Garbus wanted to forge a career in narrative filmmaking while also maintaining her roots in the doc space.
“When you're making a scripted film, you're entirely vacuumed out of the universe,” explains Garbus. “As a director, I wanted to be able to do that, but my heart and career is in documentaries. So, I was like, ‘How do you manage both?’
The answer, as it turns out, was right in front of her.
“I wanted to be able to have a partner who if I was making scripted film, was still at a high enough level that they could be talking about the other stuff that I might want to do, or if there was a project that I was producing, but not directing, they would be able to oversee that at a high level that I knew would satisfy executives,” Garbus says. “So, I was taking meetings with various producers and then, I don't remember the exact moment, when I was like ‘Wait a second. Why don't Dan and I just do this together?’”
National Geographic’s executive VP of global scripted content and documentary films, Carolyn Bernstein, worked with Garbus and Cogan on both “Becoming Cousteau” and “Fauci.” While “Cousteau” was commissioned by Nat Geo, Bernstein won a bidding war for “Fauci.”
Bernstein considers “Fauci,” a film about infectious disease specialist Dr. Anthony Fauci, a perfect “brand fit,” but also wanted to work with the Story Syndicate again.
“On both ‘Fauci’ and ‘Becoming Cousteau,’ and really on every doc I've worked on so far, there's a lot of problem solving,” Bernstein says. “There are thorny situations that arise, and Dan is really an ideal partner in those instances because he's good at wading through the problem and figuring out a solution. He’s quite unflappable.”
The company boasts a creative infrastructure with a staff of 25, which includes three in-house producers - Kate Barry, Nell Constantinople and Jack Youngelson - and head of creative Jon Bardin. Under the same roof are post-production facilities. Seventy-five percent of Story Syndicate content is generated in house and then brought to various platforms, who then finance the production.
Russo-Young, an indie narrative director, met with three producers before teaming with Story Syndicate in the early stages of “Nuclear Family,” her first docu.
“I was scared in the beginning because I knew nothing about documentary financing and my impression was that it was going to be very difficult,” says Russo-Young. “But it ended up happening really, really quickly I think in large part because Dan knew the right people. The thing about Dan is that he's both incredibly creative and incredibly strategic, and that is a really rare combination to find in a producer.”
Working with major streamers means working alongside corporations, which is why, in part, Cogan says we are living in the corporate age of documentary instead of a golden age of documentary.
“A lot of the films that are being financed are financed by platforms and those platforms have their own goals and their algorithms that they pay attention to,” he says. “So as a producer, what you have to do is balance the things that you believe in and that you think are really important that you want to make and the things that can be commercial in this environment.
“How do you find that spot on the Venn diagram between what's great and innovative and powerful and important and speaks to the world in a crucial way and what can fit into the commercial landscape?”
Sometimes, he continues, “that means that you don't make films for platforms, you make them independently.”
Projects in pipeline include: Apple TV Plus’ “Number One on the Call Sheet: Black Leading Women in Hollywood” and “Number One on the Call Sheet: Black Leading Men in Hollywood” about Black achievement in the film industry, Maxim Pozdorovkin’s antisemitism feature doc “The Conspiracy,” and a Netflix docu about the rollercoaster GameStop stock fluctuation prompted by a band of retail traders on Reddit.
Story Syndicate is developing nonfiction and fiction titles, but the couple insist that the identity of the company “will always lie in true stories.”
“We understand how to tell those stories in entertaining ways that are dramatic, that are character driven, that say something about the world that we live in, and that are meaningful,” says Cogan.
As for whether Story Syndicate will become the next production house to shop itself to a private equity company or a streamer, the answer is resounding no – for right now anyway.
“Liz and I get to be in control of what it is we make,” says Cogan. “No one can tell us to make anything, and no one can tell us not to make anything. And that's how I like it.”
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发表于 2022-7-5 04:13:50
发表于 2023-1-13 12:48:16