IDA Institutional Member Spotlight: School of Visual Arts, New York City
What about this story is compelling to you?
Toby Shimin, editor, Ernie & Joe
Is the subject doing something authentic and interesting - that speaks to larger ideas that are engaging to an audience?
Maro Chermayeff, SocDoc Department Chair; director, Half The Sky
What are the stakes?
Deborah Dickson, director, LaLee’s Kin
Is there a story? Will transformation transpire during the film?
Ann Collins, editor, Joan Didion: The Center Will Not Hold
Why are you the person to tell this story? What do you bring to it that you can share with viewers?
Leslie Asako Gladsjo, director, Black America Since MLK: And Still I Rise
Does your idea excite when you describe it, or do people just listen politely?
Thom Powers, documentary programmer, Toronto International Film Festival
Now, imagine the images that best tell your story. How should your camera move or stay still? How intimate or formal should you be? These will change with your story but you are helped by using your imagination ahead of time.
Tom Hurwitz, ASC, cinematographer, Queen of Versailles
From a fundraising perspective: is there a similar film on this topic? How is yours different?
JT Takagi, sound recordist, Strong Island
Are you prepared to give this project what it will take over the years that it will inevitably consume? Do you need partners to best serve the film? Who might support this film and why?
Beth Levison, producer, 32 Pills: My Sister’s Suicide