AMERICAN CINEMATHEQUE

Cordially invites you to attend

ALL DOC’D OUT:
A DOCUMENTARY SURVIVAL GUIDE SEMINAR

Thursday, October 23, 2008
7:30pm – 10:30pm
at
The Aero / Max Palevsky Theatre
1328 Montana Avenue
(at 14th Street)
Santa Monica, CA 90403

PARKING:
There is plenty of free, unlimited parking on Montana Avenue AFTER 6pm and on side streets AFTER 7pm.
Read posted signs for restrictions.

Learn how to keep your film alive and thriving in the competitive world of nonfiction distribution, exhibition and film festivals from a panel of industry professionals!

ALL DOC’D OUT is sure to enhance your understanding of the competitive world of non-fiction filmmaking, financing and distribution. Whether you have just finished your film or whether you are in pre-production and preparing to shoot your film or even if you are just in the conceptual stages of making your first film, ALL DOC’D OUT is sure to be an invaluable resource and a rewarding glimpse into the state of documentary filmmaking in the United States.

Nonfiction filmmaking has been a centerpiece of the American film industry for most of our new millennium. Whether this resurgence can be attributed to the dominance of reality-based television, new-found artistic and technical liberties or to some good old-fashioned monetary gain, there is now a vast new playing field for today’s documentary filmmaker..

CONFIRMED PANELISTS INCLUDE:

Agi Orsi, Producer
RIDING GIANTS; DOGTOWN AND THE Z-BOYS; ONCE IN A LIFETIME; AMAZING JOURNEY: THE STORY OF THE WHO;

Sandra J. Ruch, Documentary Consultant
Elixir Consulting

Diane Estelle Vicari, President, International Documentary Association

Randy Olson, Author/Filmmaker
SIZZLE: A GLOBAL WARMING COMEDY; FLOCK OF DODOS: THE EVOLUTION-INTELLIGENT DESIGN CIRCUS

Saskia Wilson Brown, Manager VC2 Outreach
CURRENT TV

PLUS MORE PANELISTS TO BE CONFIRMED!

Moderated by film consultant/programmer Thomas Ethan Harris.

SPECIAL DISCOUNT FOR INFOLIST.com!!
Bring a copy of this INFOLIST.com email to the Aero Theater Boxoffice, and get $5 OFF! That’s just $15 (normally $20!) for a panel of top documentary professionals! Note: The Aero Box Office is open 90 minutes before the first program of each day or evening.

To purchase tickets online (sorry, no discounts available for online purchases):
www.fandango.com/americancinemathequeattheaerotheatre_aacpd/theaterpage?date=10/23/2008

For the latest information on new panelists, and more information, please visit:
www.aerotheatre.com/archive1999/2008/Aero/OneNightEvents_OCT_Aero_2008.htm#ALL%20DOC’D%20OUT:

COURSE OUTLINE:

With an accent on ALTERNATIVE and CREATIVE approaches to producing, financing and distributing documentary films, ALL DOC’D OUT: THE ULTIMATE DOCUMENTARY SURVIVAL GUIDE focuses its attention on three primary foundations of non-fiction filmmaking:

1. CONCEPT/SUBJECT CHOICE, FORMAL DESIGN, FILMMAKING TRENDS
What are the most viable subject trends in documentary filmmaking today? What is the current landscape like for “the political doc” (Michael Moore-approach), “the historical doc” (Ken Burns-approach), “the environmental doc” (Al Gore-approach), “the shock doc” (Nick Broomfield-approach), “the personal doc” (Terry Zwigoff-approach), and “the auteur doc” (Errol Morris-approach)? What are the current filmmaking stylistic trends? Where are they headed? Does the film festival world favor certain non-fiction subject approaches and styles over others? Is there a primary documentary filmmaking style/form today? What filmmaking stylistic/formal concerns should a new documentary filmmaker be aware of when making his/her first film? What are the most important artistic and financial considerations you should make before shooting your documentary?

2. CONTEMPORARY FINANCING
In terms of the conceptual stages of making a documentary, what do both documentary organizations who provide grants and documentary financing producers look for in a documentary that is seeking investment? Is financing an American documentary always from a “patchwork” of sources? Given the collapse of the world’s financial institutions, it looks like financing your new non-fiction film has some very challenging times ahead. What new methods of financing documentaries can we foresee in the future? How creative can producers get in their efforts to find money to make non-fiction films? Given the weakened state of the dollar, is European financing on the rise for American documentary filmmakers or is this just a potential for narrative filmmakers? Is the “internationally co-financed” film going to come back into style?

3. NEW FORMS OF DISTRIBUTION/EXHIBITION
What does the landscape for documentary film/video distribution look like today verses 5 years ago? What are the biggest changes in what a documentary will find for itself in terms of theatrical distribution, DVD sales or broadcast (television, cable TV, internet) play? How does film festival exhibition enhance or hurt a documentary’s distribution potential? When do I bring on a sales agent? When do I bring on a publicist? Are sales generated through self-distribution better today than sales that can be generated by a DVD distribution company? What are the “best” DVD distribution companies for non-fiction films? Do DVD sales really make up for the financial losses filmmakers now take with the relatively small advances they are offered for theatrical and broadcast distribution? What are the newest forms and/or methods of distribution for documentary filmmakers today? Does the contemporary documentary filmmaker have to settle for greater exposure for his/her film and take a financial loss?

ALL DOC’D OUT: THE ULTIMATE DOCUMENTARY FILM SURVIVAL GUIDE – we hope to see you there!