Produce
INTINERARY
4
- producción
- dirección
- distribución
- agencia de ventas
- programación
The first step in producing a film begins with the selection of a project and the identification of its specific characteristics and its possibilities for financing and artistic-creative proposal and innovation. The next steps require taking into account the dimension of the project in order to plan a sustainable budget and tailor-made financing. The documentary can be approached in different ways depending on the model it represents, from an artisanal, industrial or self-produced production. At this stage, a crucial task is the development of attractive sales materials (dossier, pitch, teaser) to implement the planned strategy in the competitive ecosystem of funds, grants, markets, forums, festivals and platforms.
Knowing the film before its birth
- How much do you know about the film before making it?
- What kind of film do you think it will be?
- What kind of audience will it target?
- What trajectory will it be able to follow?
- How does this impact the search for funding?
- How does it influence the earliest phases, depending on whether the project originates from the director, is a commission, or an initiative of the production team?
Dimension of production: From self-production to the industry
- How do you identify the appropriate scale of production?
- Can a film lose direction or coherence if the production is disproportionate (in terms of financing or production design)?
- What factors determine whether a film is made on a more artisanal or less industrial level?
- As a filmmaker, how and when do you decide to engage in self-producing your film?
- How does self-production allow you to optimize the result?
- What are the particularities of a production on an artisanal or self-produced scale?
- And on an industrial scale?
- Could you provide some examples?
- How do you approach budgeting at this stage?
Tailor-made financing
- How is the search for financing for a documentary film structured?
- How specific is this process for each film?
- Can you provide examples or specific cases of financing models from your experience?
- How do you identify potential funding sources?
- How do you adapt your strategy if funding is not secured?
- How do you evaluate the current funding landscape for documentaries in your context, and how has it evolved in recent years?
The creation of the dossier, teaser, and other materials
- Is the dossier a creative or a marketing tool?
- To what extent?
- Who should be involved in preparing the dossier?
- What aspects of the film should be communicated through the dossier and teaser?
- How does the dossier evolve throughout the creative process to adapt to different calls?
Selling your documentary: Pitching, markets, and WIP
- What are the key elements for pitching your project? How does the context and audience of each event affect pitch preparation and delivery?
- How do you determine which markets or labs to present your film in?
- How do you make the most of each market opportunity?
- Can a film succeed and achieve recognition without participating in markets in today’s landscape?
- How much do you learn about your own film by participating in markets or labs?
- How can you enhance your film during this process while preserving its essence and creative independence?
Once the documentary has been financed, the production team must determine the budget and design an appropriate production plan. As with the artistic field, the unpredictability of working with reality is decisive in this organization, so flexibility in management is absolutely necessary in the three phases, pre-production, filming and post-production. The selection of the technical team is another key factor, especially in productions where the human factor can be delicate or where deadlines are extended over time. Documentary film faces specific challenges for production such as ethical issues and the management of rights and legal aspects.
Pre-production: Organizing the Unforeseen
- Is production planning compatible with the common unforeseen events of a documentary film? How do you balance these elements?
- Specifically, what implications does unforeseen events have on the management and organization of resources (schedules, work plans)?
- How do you organize this in your specific case? How do you react to these unforeseen events?
- How does production planning adapt to the needs of a film whose development, direction, or completion time are unknown in advance?
Team Relationships: Direction-Production-Photography-Sound-Editing-Music
- Who (production, direction) and how are the professionals who form part of the team chosen?
- At what stage of the project do they join?
- How are contacts between them established or fostered?
- How do these relationships influence the different stages and the film's outcome?
Specific Challenges of Documentary Filmmaking: Legal Aspects, Rights, Ethical Issues
- What are the specificities of documentary filmmaking in relation to the legal aspects of production?
- How are the rights of the people involved in the films managed and secured?
- How do production documents (rights) reflect the ethical aspects of the representation of these people?
- Can you provide specific examples?
Post-Production Coordination: The Final Cut
- How does the production role evolve throughout the creative process of a film?
- How is the director supported during this process?
- How is the production team involved in the creative decisions of the team?
- How is this aspect reflected in the final cut?
- How do you negotiate with management the responsibility or decision regarding the final cut?
The limited number of screens for the distribution of documentary films greatly influences the way in which films meet the public. It is therefore essential to develop an effective strategy to obtain the maximum possible dissemination of the film we are making. This last stage can be carried out alone, through self-distribution, or in the company of a sales and/or distribution agency. In both cases, it is essential to select the film’s target audience, design a complementary strategy for screenings and viewings in different areas of interest and develop an attractive communication plan to achieve the maximum number of viewers.
Selecting a Target Audience for the Film
- How do you re-evaluate the target audience once the film is finished?
- Can that audience be diversified?
- How is this achieved?
- Can you provide examples of specific cases?
Choosing a Sales Agency/Distributor
- What factors determine the involvement of an international sales agency or distributor in each case?
- When is their inclusion ideal?
- What are the optimal qualities for an agency or distributor?
Developing a Strategy
- Can you provide examples of how a strategy is designed for festivals, commercial theaters, cultural exhibitions, platforms and television, and the educational field?
- How specific are these strategies in self-distribution or in dialogue with a distributor?
Communicating Your Film
- How is a communication plan for a documentary film developed?
- Can you provide specific cases?
- What role do elements such as the poster, trailer, and other materials play?
- How is the creative process developed and the team involved in this communication?
Reception: Contact with the Audience
- How does the film grow in its reception with the audience?
- And with specialized critics?
- Can you share some future lessons learned for a new film from the film screenings?
