В США есть много частных сайтов, создаваемых специалистами в разных областях. Один из них - http://www.documentarytelevision.co
Эксперт сайта, предоставляющий как консультативные, так и образовательные и продюсерские услуги, ведет постоянное обновление информации о том, по каким правилам в США существует те немногие островки независимого документального кино.
В мире самым известным таким "островком независимости" и пристанищем для неамериканских документальных фильмов явлется слот POV, показываемый в летний сезон с небольшим захлестом на осень на общественном телевидении сша - PBS. Здесь стоило бы рассказать о системе организации PBS через членские станции в каждом из 210 основных округов США, но это довольно долго. Общая идея такая: PBS предоставляет членским станциям контент, который они вправе разместить в свои свобоные слоты. Но, чтобы гарантировать корпоративным спонсорам и фондам зрительский охват, есть устоявшиеся слоты и стренды, которые показываются всегда в одинаковое время. И, в основном, в прайм-тайм. Для документалистов это, прежде всего, POV, Independent Lens, FRONTLINE и American Experience.
Слот POV реализуется компанией American Documentaries с офисом в Бруклине, практически прямо под Манхеттенским мостом.
Адрес их сайта, где, кроме линейки их фильмов в этом сезоне, вы можете найти кучу информации для независимых режиссеров (календари, дедлайны, фонды, статьи, блоги и пр) простой: http://www.pbs.org/pov
К сожалению, у меня нет возможности перевести весь материал, который сделал Питер Хамильтон на Documentarytelevision.com, но я просто вставлю английский текст и буду надеятся, что те, кому это нужно, смогут это прочесть и усвоить :)
In its 26 seasons, POV has racked up an impressive list of accomplishments:
- More than 390 films
- Lots of Awards
- Seventeen Oscar nominations, eleven since 2005: 5 Broken Cameras, Cutie and the Boxer, The Act of Killing, If a Tree Falls, The Barber of Birmingham, Food, Inc. The Most Dangerous Man in America, The Betrayal, My Country My Country, Street Fight, Hardwood, and more
- 32 Emmys
- Numerous DuPont and Peabody awards, including recent Peabody awards for Best Kept Secret, and The Law in These Parts.
- More than $50 million since 1988
- $1 million per year in production funding and licensing fees
- Plus $2 million per year on community engagement, education, online and public awareness campaigns that support each film
- A funding magnet
- A POV commitment has given filmmakers the leverage to raise millions more from foundations, private investors and government agencies
- Audience and community impact
- Each broadcast premiere reaches more than 1 million viewers, plus online streams
- Community engagement, educational and online activities are central to all POV campaigns
POV offers 20-25 films from feature length to shorts
- 14-16 premieres / year
- 2-4 encores – often of Academy Award nominees or notable films from previous season
According to Simon Kilmurry:
- On the high end, production budgets are $1 million plus
- The average is about $375K to $450K
- And about $200K on the low end
The annual operating budget for POV is $3.2 million
Sources of funding are:
- PBS: $1.5 million
- McArthur Fund: $500K
- NEA: $100K
- Bertha Foundation: $70K
- New York State Council on the Arts: $40K
- Additional: “Grants and contributions vary from year to year. Our sources include the New York City Department of Cultural Affairs and the desJardins/Blachman Fund.”
Feature Length (81:25)
- Around 7-8 / year
- Includes POV branding, sponsor messages, credits, DVD offer, etc.
- Most include a filmmaker interview
- (PBS slot is 86:46)
- Around 6-7 / year
- Includes filmmaker interview, POV branding, etc.
- 3-5 / year
- POV occasionally packages a broadcast hour comprised of half-hours and shorts
- And many features come in at 70+/- minutes, and they need shorts to fill the slot
- The basic fee is $30,000/hour or $45,000 / feature
- The high mark is $150,000 / film
- 6 plays over 4 years
- Community engagement screenings
- Online streaming catchup windows
- Limited PBS Free-VOD
Filmmakers cut their own DVD deals:
- “POV often facilitates deals and does not take a rev share”
- POV offers a DVD promotional tag at the close of each program
- PBS Home Video often acquires home video rights in deals directly with filmmakers
POV is a major broadcast player for the U.S. independent documentary community:
- POV, Independent Lens and HBO Docs offer the peak U.S. broadcast slots for feature docs.
- The longevity, scale and prominence of the POV slot all underline the tremendous value of the PBS system to independent filmmakers and their viewers.
- A greenlight from POV is not a one-stop solution for filmmakers. POV partially funds docs. However, POV commissioners do actively partner with international broadcasters and foundations to help complete budgets.
- Great non-fiction storytelling.
- Address social issues and issues neglected elsewhere.
- Have a strong point of view from the filmmaker and/or the characters.
- “Our strand is called ‘POV’ for a reason” says VP of Programming & Production Chris White. “Our films are often a subjective take on a controversial issue.”
- “POV films Involve viewers in an issue through the eyes of an active participant or observer.”
- Aesthetically bold: “The filmmaker has a unique editorial style that pushes the boundaries of the craft of filmmaking.”
- Emotional resonance
- POV’s filters are combined with a “curatorial eye”
- The POV team ensures that themes and styles are not repeated.
- And that needed topics are explored.
- “Themes frequently emerge organically” says POV’s Executive Producer Simon Kilmurry. “Examples are human rights and immigration.”
Domestic? Or Global?
- U.S. topics: 10+/-
- International topics: 6+/-
- “About half of these come from international filmmakers – but the mix varies from year to year.”
Marketing and Promotional Clout
We asked if it makes a difference if a project arrives with powerful marketing relationships in place:
- “We’re interested in hooks and ties that will expand a film’s audience. But it’s the quality of the film that leads the decision.”
- POV develops national public awareness campaigns which can include presenting films to critics at the Television Critics, satellite tv and radio media tours.
ACQUISITIONS PROCESS & TIMELINE
1. Open Call
- End of June
- POV receives 800-1,000 entries for 16+/- slots
- The entries fall into three categories based on their level of completion:
- In the Works
Treatment and some scenes are complete
Few projects are funded that are in these early stages
But many are watched or mentored for the next year’s Open Call
- Completion Funding
Substantially complete: rough cut or close
They represent 50% of funded projects
- Fine Cuts
Films need post: 50% of projects
- In the Works
POV staff also attends many markets and festivals scouting for projects in production
- These include Sundance, IDFA (Amsterdam), Hot Docs (Toronto), Sheffield Doc/Fest, Full Frame and others
3. Screening for Short List
- June- September
- 20 pre-screeners + 5 POV staff members sift through the 800-1,000 Open Call applicants
- They develop a shortlist of 25-30 films
4. Editorial Advisory Committee
- Selection panel is comprised of
- 6 public TV station representatives
- 6 independents, including filmmakers and festival programmers
- Panel is sequestered for a long weekend in early October
- Each film is screened by 4 of 12 panelists
- Each film is presented to the full panel, with extended clips
- Final 15-16 films recommended by end of weekend
- The POV team exercises a final ‘curatorial filter’ in case a topic or style of filmmaking is over-represented
- The final decision made by POV’s executive producer
- Offers are sent out after final decision
- Filmmakers who accept the offer complete their work and cut their film to the POV clock
- Kilmurry says “POV provides editorial feedback and support, but we don’t make the final cut. The filmmaker’s vision is key.”
- The work is completed either in the filmmaker’s facilities or in POV’s editing suites
- Winners are announced in early February
- The POV slot is scheduled weekly on Monday nights at 10PM, June-October
- The PBS footprint covers 115 million TV households, and POV reaches 96%+/- of them
- Audience for premieres:
- High: 1,900,000
- Low: 500,000
- POV has a mission to create dialogue in communities around issues that are raised in its films
- The POV team works in partnership with local organizations and PBS stations, organizing over 700 screenings around the US annually.
- Lesson plans, discussion guides and resource lists are developed for all films
- Examples of outreach resources are: Here, here, here and here
OTHER POV INITIATIVES
- American Documentary Inc is the non-profit organization that is the parent of POV.
- A new series AMERICA REFRAMED was launched in 2012 in collaboration with the WORLD.
- AMERICA REFRAMED licenses completed films focused on contemporary American stories.
- Films that are in a second window are eligible for AMERICA REFRAMED
- The license fee for AMERICA REFRAMED IS $4,o00 for a two-year license.
- POV HACKATHONS – held 4 times per year, the HACKATHONS are a place to experiment with new digital storytelling tools, matching filmmakers with coders and programmers to develop prototypes. Applications due by 5/31.
- Digital Co-productions – With funding from the John S. and James L. Knight Foundation, POV will increase its digital co-productions, hire a technology fellow and continue its successful Hackathons.
- Filmmaker Resources – POV launched a new online resource for filmmakers with opportunities for funding, distribution and festivals.
POV and The New York Times announced a collaboration to premiere a series of digital documentaries on the organizations’ websites, with accompanying articles and interviews, throughout 2014.
И еще раз - материал опубликован с сайта DocumentaryTelevision.com. Фотографии - мои.