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don’t have all the skills you need. The life of a film carries on and
you need to make a decision about when to let go and what to let
go of. Surround yourself with able people who can benefit the film
and who will benefit from it in turn.”
Esther Robinson, a filmmaker who has also worked as a funder
at the Creative Capital Foundation in the US, emphasises the
importance of preparing yourself for the gruelling distribution and
outreach process. “Your film is like a giant marathon and it doesn’t
end when your film is finished and you are ready to pass out and
are totally broke. You’re only about a third of the way through the
process at this point. But you can build a structure of validation
around your film through outreach.” Robinson adds that this process
should start early. “Your outreach should start when you first pick
up your camera. You should create the sort of partnerships where
they are as invested in your film’s success as you are.”
Filmmakers can feel pigeonholed, obliged to promote the message
above the art, and there has always been debate in the documentary
We Are Together
community about the privileging of social issue documentaries
over other non-fiction films when it comes to funding and industry
DuBowski is very honest about the hard work and time recognition. Katy Chevigny, executive director of the US non-profit
commitment that this approach involves but says, “I relate to the Arts Engine and director of Election Day, finds this frustrating
world through these social networks anyway—it’s my DNA. But sometimes. “I’m still trying to make a film first and foremost. It’s
you can always link up with organisations who do this like Active hard to make your film unless you make the sort of message film
Voice and Working Films. There are also outreach directors out that foundations are looking for. We’re not considered just artists.
there who do this for a living.” For DuBowski it is all about investing It becomes about supporting the cause rather than about supporting
in the people who will take your campaign forward, forming the artist’s work in general.”
coalitions so that the entire burden does not fall on the filmmaker. Ultimately, however, it seems that everyone agrees that the
Otherwise there can be a tension between the demands of filmmaking possibilities outweigh the problems. In the UK the learning curve
and feeling like you have unwittingly become the executive director is particularly steep but the benefits are clear. As Jess Search puts
of an NGO. “You need to create leadership development, especially it, “Documentary filmmakers and the third sector have much to
for films like this where it is the first time these issues are being learn about each other’s needs, preoccupations and working practices.
spoken about, and you need to be smart about time and resources There will be misunderstandings and frustrations but as time goes
and organisational development so you don’t get burnt out.” on I think we’ll build really powerful collaboration models. The
Jess Search points to a couple of British success stories funded by rewards of a successful partnership are overwhelming and will make
the Foundation who have benefited from outreach campaigns, the journey one worth taking for both sides.” Esther Robinson
“Black Gold was our first film at Sundance and the first to get a acknowledges how hard the process can be but her parting advice
theatrical release. It was very influential with audiences, coffee is hopeful: “Make your life good, don’t get into too much debt and
companies such as Starbucks and policy makers. We Are do something meaningful.” ■
Together (www.wearetogether.org) was our second film to get a
theatrical release—we partnered with [RED] on the UK release
Black Gold
and with Keep a Child Alive, a US-based charity involved in the
making of the film, on the US release. End of the Line, our film
about the collapse in global fish stocks, which is editing now, will
be our most ambitious change-making project so far. It’s an
international film with many partners including WWF and aims
to change global fish policy.”
Teddy Leifer, producer of We Are Together, talks about how
mutually beneficial these kinds of relationships can be: “There are
so many shared interests. Non-profit partners have so much expertise
in these areas and ultimately everyone wins.” Leifer’s advice, like
DuBowski’s, is to share the load. “You need to realise that you
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