The popularity of the documentary genre has grown exponentially over the last two decades, due in large part to producers’ willingness to push the boundaries of the form. Re-enactments, animation and a variety of experimental and hybrid styles have taken their place alongside the more traditional observational and verité formats, leading to an unprecedented renaissance of non-fiction storytelling.
How does the producer’s choice of subject matter affect their choice of format, and vice-versa? What implications does formal innovation have for the producer’s ability to communicate a subject’s truth? And what impact have these new approaches had on the market for documentaries?
Dan Braun, Co-President, Submarine; Kusama – Infinity, Wild Wild Country
Marta Kauffman, Writer/Director/Producer, Okay Goodnight; Seeing Allred, Grace and Frankie
Errol Morris; Wormwood, The Fog of War
Ceyda Torun, Co-Founder, Termite Films; Kedi
Diane Becker, Co-Founder/Producer, Fishbowl Films; Inventing Tomorrow, If I Leave Here Tomorrow: A Film About Lynyrd Skynyrd