Still Photographer/documentary filmmaker wannbe

[Edward Kennedy]

Here is the scenario, you are a still photographer with a significant amount of experience doing extend photo essays you find out that a very large governmental agency has developed a viable welfare to work program in partnership with a NGO and several large labor organizations. You approach them about doing a photo-essay and they say they would rather see it done as a film/video.

Now as a still photographer, you have been thinking about making inroads into film and you think this would be a fine story to start. You read about people doing single camera docs without a sound crew and you think that this story lends itself to this kind of treatment. The shooting time could be anywhere from 8 months to a year, which you are willing to do.

Here is the problem, you know that between these three organizations that run this program there is a significant amount of money. But you feel that in order to convince them to part with there money you need a partner who has some track record to give them that feeling of comfort that at least one person knows which end of the camera the tape goes in when handing over a check. So you go looking for people who have some kind of track record and they a. want to be hired on to do everything (which completely negates the reason why you want to do it to begin with) and b, their rates are such that it would take Miramax to fund it. Any ideas?

Or am I just crazy?

[Tom Kronberg]

Are you talking about getting them to pay for expenses or to pay you to make it?
Do you want to make it for money or the experience?
When you say someone with a track record, do you mean someone who does this for a living and has much experience, or someone who at least has done this before and has a very nice portfolio? I would think it's just as important to be able to show them that your partner has the ability to make a great documentaty (with example footage).

[Edward Kennedy]

“Are you talking about getting them to pay for expenses or to pay you to make it?”

Whatever the market will bear. Actually expenses for me would be fine.

“Do you want to make it for money or the experience?”

I will never turn down an opportunity to make money but will settle for the experience and putting out a good story.

“I would think it's just as important to be able to show them that your partner has the ability to make a great documentaty (with example footage).”

That would be in line with what I have in mind.

[Richard Alvarez]

Edward,

Look around your community for film students and doc makers. Anyone of professional standing can either do it all themselves, (In which case, your job becomes "Producer") or will take the job on without you.

There are many indy media organizations out there. Here in Houston, there is SWAMP, in San Francisco their is IMAGE look for an AIVFF group. THere, you will find lean and hungry students and small indies who will be more willing to partner with you.

But frankly, I think the best product will come with a professional and you as the producer.

Good luck.

[David Mintzer]

Contact me--I would like to hear more--(I'm an experienced documentarian) zer@bellatlantic.net

[Edward Kennedy]

Richard

You are probably right but what fun would that be for a shooter? There is a non-profit film group here and I will be meeting with them on Monday. I was hoping that I would get some better ideas before making a fool of mysefl once again.

[Frank Granovski]

But you feel that in order to convince them to part with there money you need a partner who has some track record to give them that feeling of comfort that at least one person knows which end of the camera the tape goes in when handing over a check. So you go looking for people who have some kind of track record and they a. want to be hired on to do everything (which completely negates the reason why you want to do it to begin with) and b, their rates are such that it would take Miramax to fund it. Any ideas?

Yes, contact David Mintzer.