00:00:00 - 00:35:00

In this interview with producer Paul Martin about the Netflix series "Full Swing," he explains that the show follows golfers throughout the PGA Tour season and their struggles to compete with the new Saudi-backed league called "Liv Golf." Martin credits the success of "Drive to Survive" with making it possible to create a show like "Full Swing" and notes that the show is just as dramatic and emotional as shows like "Drive to Survive," even though it doesn't involve high speeds and crashes. The show did a good job of capturing the drama, conflict, and emotions of the sport, while also showcasing golf as a fantastic sport. Martin also discusses the challenges of covering a golf event for the show, finding the balance between character development and sporting payoffs, how the editing process takes around 16 to 18 weeks per episode, and the impact of golf on some players' lives. Martin discusses the structure of their team, their upcoming projects, and how Netflix is collaborative and trusts the production team to make the shows they want to make.

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• 00:00:00 In this section, Chuck Braverman interviews producer Paul Martin about the Netflix series, Full Swing. Martin initially worked for Box to Box, a UK-based company that produces F1. Braverman, who used to film car races, expresses his enjoyment of Full Swing after becoming a recent golf enthusiast. The show follows golfers throughout the PGA Tour season and its struggles to compete with the new Saudi-backed league called “Live Golf.”

• 00:05:00 In this section, producer Paul Martin explains that the idea for "Full Swing" came from a producer named Chad Munn, who had been wanting to make a documentary series about life on the PGA for years. Martin credits the success of "Drive to Survive" with making it possible to create a show like "Full Swing" and credits Netflix for allowing them to bring the show to life. Initially skeptical about getting involved in the project, Martin changed his mind after spending time in the world of professional golf and realizing how interesting and open the golfers were about their struggles. Martin says that the show is just as dramatic and emotional as shows like "Drive to Survive," even though it doesn't involve high speeds and crashes.

• 00:10:00 In this section, producer Paul Martin speaks about the revolution that has been taking place in golf and how it couldn't be ignored when creating the show. The idea of players being offered contracts and disrupting the sport gave the show a level of conflict that typically doesn't happen in golf. The PGA was initially hesitant to allow live coverage of this revolution, but ultimately understood that it was necessary for the show. The logistics of filming the show were a challenge due to the lack of archived footage in golf, but the crew eventually figured it out with a few small crews at each event. Overall, the show did a good job of capturing the drama, conflict, and emotions of the sport, while also showcasing golf as a fantastic sport.

• 00:15:00 In this section, producer Paul Martin talks about the challenges of covering a golf event for the Netflix show "Full Swing" and how the entire world of golf stepped up to help. He notes that the impact of Netflix's "Drive to Survive" on Formula One was so great that it radically changed the conversation around doing these types of shows, making it much easier to get them off the ground. He also mentions that the logistical challenges of covering the Tour de France for the next show would be tough but the American audience needs a show that explains what the Tour de France really is. Most of the show is not from NBC, CBS, or the Golf Channel, with only a relatively low percentage being on-course coverage.

• 00:20:00 In this section, producer Paul Martin discusses the behind-the-scenes process of filming golfers during tournaments for the show "Full Swing." Martin explains that about 80 percent of the footage used in the show is their own, while the rest comes from networks like CBS and NBC. He also speaks about the challenges of finding the perfect balance between character development and sporting payoffs from the perspective of a viewer. When asked about the amount of footage shot for each episode of the show, Martin explains that it is difficult to estimate, but the show's editing process typically takes around 16 to 18 weeks per episode. Regarding Netflix's involvement in the show, Martin characterizes the streaming service as collaborative and states that notes and editorial decisions are a part of the production process.

• 00:25:00 In this section, the producer of the "Full Swing" series discusses his experience working with Netflix and how they trust the production team to make the shows they want to make. He also talks about the challenges they faced in getting golfers on board for the show, as they are a less malleable personality type and already have a lot of money. Additionally, the producer mentions how the show portrays the golfers as laid back despite the amount of money they earn, and how they tried to find the stakes and tension in golf despite it not being a life and death sport like Formula One.

• 00:30:00 In this section, producer Paul Martin discusses the impact of golf on some players' lives and how it defines who they are as individuals. He explains that for these players, a golf swing is not just a part of their game, but it encompasses everything they have achieved in their life, every friendship they have had and every positive relationship they have built. Martin moved to producing documentaries from game shows, and the transition was not easy. He drew upon his love for sport and his connection with people in the sports world to make the transition. Martin explains that in the UK, they use the role of producers as directors, and this is because the role requires someone who can maintain relationships with players, agents, and other technical crews. It's simply not logistically possible for a singular vision director to be across the entire show.

• 00:35:00 In this section, producer Paul Martin discusses the structure of their team and how they usually don't use singular directors for their projects but rather a group of producer directors. He also mentions their upcoming projects, which include a four-part non-sport series for Apple, a three-part ESPN project, and potentially more of their popular series like "Drive to Survive." Martin also notes that Box to Box has around 40 full-time employees in London and is starting to build up their LA office. Finally, the host commends Martin and the team for creating a series that's not just for golf enthusiasts and congratulates them on a successful production.

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Ep 119 

NAVALNY

00:00:00 - 00:25:00

In a recent interview, director Daniel Roher discusses the making of his documentary about Russian politician Alexei Navalny, who was poisoned while challenging President Vladimir Putin. Roher explains how the success of the film has changed his life but also admits to feeling guilty as Navalny is currently in solitary confinement and being tortured. The director shares the challenges of making the film and the loss of his production company, as well as the dangers faced by Navalny as a journalist speaking truth to power in Russia. Roher hopes that the film's Oscar nomination will bring attention to Navalny's cause and eventually allow him to see the film.

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• 00:00:00 In this section, Chuck Braverman introduces the director, Daniel Rohr, and talks briefly about the Real Screen Summit before going into his previous work with the band documentary, Once Were Brothers. Chuck praises the film as one of the best overall and musical documentaries of all time, and asks how Daniel managed to get famous names such as Martin Scorsese, Brian Grazer, and Ron Howard to sign on as executive producers. Daniel attributes this to Robbie Robertson calling up his friend Scorsese and asking for his help, followed by being one of the first documentaries under Brian Grazer and Ron Howard's new company, Imagine Documentaries.

• 00:05:00 In this section, the interviewer discusses the director's background history and how they got involved in film. The director explains that he is a Jew from Canada, and that he studied at an art school in Toronto before leaving to pursue his passion for making documentaries. The director mentions that they made a few short films that got some attention in Canada before securing their breakthrough by making the Robbie Robertson project, which led to the creation of Navalny and changed their life. The interviewer then shows the trailer of Navalny, a documentary about Russian politician Alexei Navalny being poisoned while challenging the Russian president, Vladimir Putin.

• 00:10:00 In this section, the director of the "Navalny" documentary discusses how the film's success has changed his life and allowed him to have more options for his next film, but he also feels guilty as Alexey Navalny is currently in solitary confinement and being tortured in prison. The director talks about how Navalny wanted to go back to Russia despite the risks and that it wouldn't have been a good idea to try to talk him out of it. He also discusses his relationship with Navalny's wife and the challenges they are facing with his imprisonment and torture.

• 00:15:00 In this section, the director Daniel Roher shares how he got involved in the film about Alexei Navalny. Roher and his producers were in Vienna after being asked to leave Ukraine while working on another film when they found themselves interested in the poisoning of Navalny. They reached out to him and were able to pitch a film project that he agreed to. The filmmaker also shares how CNN got involved with the project, explaining that they were the only ones with the courage to take on the government when others were too afraid. This fear from the big industry players is also what the Russian government wants to happen, he adds.

• 00:20:00 In this section, director Daniel Roher discusses the loss of the production company, Intrepid investigative films, which was a crucial part of making the film. He praises the executives at CNN Films for their smart and supportive notes. Roher then talks about the post-production process, which included editing the film in secrecy and using encrypted hard drives. He highlights the excellent work done by the film's editors and discusses the lesson he learned about accepting other people's ideas. Roher admits that he worries for his colleagues' safety and acknowledges that the Russian government is targeting some of the film's subjects. However, he takes solace in the fact that the Russian Security Services are not as competent as one might expect.

• 00:25:00 In this section, director Daniel Roher discusses the danger that Alexei Navalny faces as a journalist speaking truth to power in Russia and the disappointment of not being able to attend the BAFTA ceremony due to security risks. He expresses mixed feelings about the excitement surrounding the Oscar nomination, as it is tied to Navalny's suffering in a gulag. Roher sees the nomination as an opportunity to bring attention to Navalny's cause and hopes that he can eventually see the film.

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Ep 118 

stranger at the gate

OSCAR NOMINATED FILM

00:00:00 - 00:25:00

Director Josh Seftel discusses his documentary film "Stranger at the Gate" with Chuck Braverman, explaining how he found the story of a small mosque in Indiana that showed compassion and forgiveness to a man who planned to bomb their mosque. Seftel was inspired by this story of hope and wanted to share it with the world through his series of short films about American Muslims. He also discusses the making of the film and the challenges of capturing real interactions in a verité style without using recreations. The film features aerial shots and utilized a shoestring budget. The editing process took around seven months and utilized the talents of the editor to bring out the story through sound design and language. Seftel explains how the use of percussive sounds and editing restraint in the film helps to capture the gravity of the real-life story without making it feel superficial.

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• 00:00:00 In this section, Chuck Braverman interviews director Josh Seftel about his short documentary film "Stranger at the Gate" which made it onto the Academy of Motion Picture Arts and Sciences shortlist. The film tells the true story of a small mosque in Muncie, Indiana that showed compassion, forgiveness, and grace to a man who showed up at their door with tattoos all over his arms, a Marine tattoo, and skulls on his arms. The man had come to do a reconnaissance mission and blow up the mosque, but the kindness he received from the congregants changed his mind. The film is just under 30 minutes and is a story of hope.

• 00:05:00 In this section, the director of "Stranger at the Gate" explains how he found the story of the mosque in Muncie, Indiana and how it inspired him to make a film about it. He was feeling hopeless about the state of the world when he stumbled upon the story of the congregation of the mosque who changed the course of what was supposed to happen by connecting and building a bridge with their enemy. He saw this act as an immense display of hope and wanted to share it with the world through his series of short films about American Muslims, the Secret Life of Muslims. The director also discusses how the members of the mosque served as inspiration for the film and why he believes their actions demonstrate a message of peace and kindness that could benefit the world.

• 00:10:00 In this section, the director explains how a Muslim mosque came to be in Muncie, Indiana, despite it being an unlikely location for one. The community was largely formed through the presence of Ball State University, which attracts many international students and scholars. This community is the focus of Seftel's film, "Stranger at the Gate," which tells the story of a man who planned to kill members of the mosque. The film is available on the New Yorker channels and on YouTube for free because Seftel wanted the message to reach as many people as possible. The members of the mosque knew that Seftel was Jewish, but they welcomed him and his team with open arms, creating a familial atmosphere on the set.

• 00:15:00 In this section, the director Josh Seftel talks about how the success of his documentary Lost and Found on public television and its nomination for an Emmy made him realize the power of filmmaking to effect change, an achievement he initially wanted to pursue through Doctors Without Borders. He borrowed a Hi8 video camera, which he was told wouldn't work, but it did, and suddenly everyone was shooting Hi8 films. While Lost and Found led to the American adoption of thousands of Romanian children, most of his works have small but positive effects on the world. Stranger at the Gate has the potential to do some good in the world too, and the New Yorker has been a great partner that has acquired some of his documentaries over the years, including the current one. Funding for the current doc short came from financiers and donations, and it was acquired by the New Yorker quickly after the director brought them a near finished film.

• 00:20:00 In this section, the director discusses the making of "Stranger at the Gate" and the challenges associated with making a documentary film without utilizing recreations, as they wanted to capture moments of interaction between the director and subjects in verite style interviews. The film also features aerial shots, which give the viewers space to imagine the story themselves, and were filmed on a shoestring budget, with a drone that their DP already had. The editing process took around seven months and utilized the talents of the editor to bring out the story through sound design and language.

• 00:25:00 In this section, the interviewer and Josh Seftel discuss the use of percussive sounds and editing restraint in the film "Stranger at the Gate." Seftel explains how these elements contribute to capturing the tension and gravity of the real-life story without making it feel too light or superficial like a Disney movie. The interviewer thanks Seftel and wishes him luck with the Oscars.

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Ep 117 

38 at the garden

00:00:00 - 00:30:00

In a recent interview with the director of "38 at the Garden," Frank Chi,  discussed his background working for Barack Obama's presidential campaign and his transition to documentary filmmaking. Chi also shared the inspiration behind his film, focusing on the night Jeremy Lin scored 38 points at Madison Square Garden, and how the film addresses the stereotypes and cultural exclusion Asian people have faced in American society. The film has received positive feedback and is accessible to all viewers as it is only 38 minutes long. Chi emphasizes the importance of defying stereotypes, taking control of one's life, and learning from the experiences of others.

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• 00:00:00 In this section, the director of the short film "38 at the Garden," Frank Chi, discusses his background and how his political experience led him to documentary filmmaking. He shares his story of working for Barack Obama's presidential campaign and his transition to filmmaking, specifically to create stories that are true through documentary filmmaking. He also touches on the origin story of his film, which focuses on a moment when society told a group of people they couldn't do something, and how someone shattered that notion.

• 00:05:00 In this section, the director of the documentary "38 at the Garden," Frank Chi, talks about the birth of the idea for the film, which centers around the night that Jeremy Lin scored 38 points at Madison Square Garden. He discusses the three parts of the film, which focus on breaking stereotypes, shattering them on a world stage, and the weaponization of those stereotypes against Asian people. Chi states that as an Asian American, the night that Jeremy Lin rose to fame was an act of belonging for him, just like Barack Obama's election. He also talks about the struggles of fitting in as an Asian American in a society that does not always include or represent them.

• 00:10:00 In this section, the director, Frank Chi, discusses the stereotypes and cultural exclusion that Asian people have faced and continue to face in American society. He explains that these stereotypes are unfortunately still rampant in American media, and Asian people have had to become accustomed to not seeing themselves represented as heroes in mainstream media. However, he shares that Jeremy Lin's success and the impact of the movie Linsanity broke through this psychological hack that Asian people had created to survive in this country, breaking the seal for many within the Asian diaspora. Chi also speaks about the process of convincing Jeremy Lin to participate in the documentary, given that he is still pursuing an active basketball career, emphasizing the urgency of meeting the moment and addressing the stereotypes that still exist.

• 00:15:00 In this section, the director discusses how the movie was not solely about Jeremy Lin, but the sense of doubt that anyone can relate to. The movie has received feedback from people who feel they have been doubted in their work life, and it has given them the confidence to take their shot at the right moment. The movie showcases how to confront stereotypes and take control of your life. The director shares how the funding for the movie was raised independently, and things did not always go smoothly with investors. The NBA had been in good conversation with the producers, and they recognized the inspiring story that could help the league's PR. Finally, Lisa Ling's involvement helped push the movie out since she has stayed involved in the project even after her interview.

• 00:20:00 In this section of the interview, director Frank Chi talks about the serious topics covered in the film and how they had comedians and serious commentators to provide commentary. He highlights the importance of Lisa Lane's contribution in the film as she provided a unique perspective on the effect of stereotypes on society and how they turn into anti-Asian violence. Chi also details the timeline of the project from its inception in 2020 to submitting to Tribeca in May 2022. He reveals that the initial amount raised independently was $120,000 and that the NBA footage costs a lot. Despite the tight budget, the film looks very professional and was a testament to their hard work.

• 00:25:00 In this section, director Frank Chi discusses the process of working with the NBA and how they were appreciative of the cooperation they received. He also talks about sticking to the "script" for the documentary and how people who understood the vision helped put the film together. Chi hints at his interest in making films about belonging and defying the odds and how experimentation is important after completing a project like "38 at the Garden." The editing process was quick, taking only a couple of months, and Chi talks about learning from the fast-paced and specialized work of people in the film industry.

• 00:30:00 In this section, director Frank Chi explains that one of the reasons they made the film a short documentary is to make it more accessible to viewers. They wanted to give people no excuses not to watch it, and by making it only 38 minutes long instead of 90, they achieved this goal. The film provides both an opportunity to relive the famous 2012 Knicks vs. Warriors game and to gain a deeper understanding of the experience that Asian Americans had to go through in order to celebrate and live that moment. Chuck Todd summarized the film perfectly when he said that people might come for the basketball but stay for an education.

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Ep 116 

wildcat

00:00:00 - 00:45:00

Filmmakers Melissa Lesh and Trevor Frost join Chuck Braverman on Westdoc Online to discuss their documentary, Wildcat. The film follows the story of an ocelot rescue named Keanu and his journey to redemption in the Amazon jungle. The filmmakers discuss the difficulties they faced filming in the rainforest and the importance of sound design and collaboration in filmmaking. They also touch on the transformative power of nature and their desire to showcase the intelligence and emotional depth of animals. The filmmakers reveal the challenges they faced during the editing process and their hopes for the film's success on the festival circuit and beyond. Ultimately, the filmmakers hope to promote positivity and uniqueness while embracing differences in people's lives.

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• 00:00:00 In this section, Chuck Braverman hosts Melissa Lesh and Trevor Frost, the filmmakers behind the documentary feature film Wildcat, on an episode of Westdoc Online. Braverman commends the filmmakers for creating a spectacular, emotional, educational and entertaining film that he regards as one of the major contenders for an award. The episode features a trailer for Wildcat which tells the story of Keanu, an ocelot rescue, and his journey toward redemption both for himself and his handlers in the jungle.

• 00:05:00 In this section of the video, the filmmakers talk about how their wildcat documentary came to be. The director of photography had been in the Amazon jungle taking pictures for a National Geographic article when he met Harry Turner, a war veteran who had gone to the jungle after suffering from PTSD. Turner and his girlfriend, who was a scientist and conservationist, showed the filmmaker videos of their work with rescuing and rehabilitating wildlife. Impressed by the quality of cinematography and the footage of their work, the filmmakers decided to make a short film focusing on an ocelot rescued by the couple. However, when they received word that Turner and his girlfriend were rescuing more cats in the Amazon, they decided to follow the journey in real-time, which resulted in 13 trips and about 200 days spent in the jungle.

• 00:10:00 In this section, the filmmakers discuss the difficulties of traveling to and filming in the rainforest, including the long hikes, muddy trails and limited resources in terms of equipment. They kept their gear lean, having only two cameras and their phones with them. The film was shot in 1080 rather than 4k because of the challenges of handling such large amounts of data and battery consumption. Despite this, the film quality was excellent, with great sound quality due to the use of ambisonic microphones. The filmmakers also partnered with Harry and Samantha to produce the film, with exclusive footage shot by them, which turned out seamlessly in the final product.

• 00:15:00 In this section, the filmmakers of a Wildcat documentary discuss the importance of sound design in creating an immersive experience for the audience. Their sound designer, Lawrence Everson, went to the Amazon and recorded an incredible full spectrum rainforest soundscape using ambisonic microphones. The goal was to create a seamless and raw quality that makes you feel like you're there in the rainforest, experiencing the effects of its healing potential. They also talk about their love for nature and how they bonded with other like-minded individuals when they went to remote spots on the Earth.

• 00:20:00 In this section, the Wildcat documentary filmmakers discuss the experience of shedding societal norms and simply being present while in the Amazon rainforest. The lack of Wi-fi and cell service during their time there allowed them to focus solely on the experience and the people around them. The film, which centers around the healing power of nature, also delves into the connection between humans and wild places, using Harry's story as an example.

• 00:25:00 In this section, the filmmakers discuss the transformative power of nature and the exploration of trauma in their documentary. The documentary initially started as an exploration of the beauty of nature and the impact it has on our brain chemistry. However, as the filmmakers grew in their journey, it transformed into an exploration of trauma and how it shapes us to be who we are, ultimately allowing us to do great things. The film touches on the struggles of depression, anxiety, and autism and how instead of assimilating into the world, we should be embracing differences and entering a new way of being. It is a film with multiple entry points and promotes positivity and uniqueness in people's lives.

• 00:30:00 In this section, the filmmakers of the Wildcat documentary emphasize the importance of viewing animals as intelligent beings in their own right rather than measuring their intelligence against human standards. They note that our limited scientific understanding of the animal world means that there may be animals that are smarter and more emotionally intelligent than humans. They also discuss the collaborative nature of filmmaking and how each team member brought their unique perspective, leading to a film that weaves together different themes and ideas. The filmmakers also share insights into the film's funding and production process, which involved being turned down by multiple networks and investors before finally securing support from 30 West, an equity partner and sales agent for the film.

• 00:35:00 In this section, the filmmakers discuss the process of editing the documentary and how they were able to pitch it to streamers. They reveal that Amazon came on as a partner, which allowed them to increase their budget from around $1.7 million. The filmmakers also talk about their positive experience working with Amazon and how the company gave them creative freedom during the editing process. The documentary will be released in theaters on December 21st and will be available for streaming on Amazon Prime on December 30th worldwide. The filmmakers also express hope that the documentary will make it to the shortlist for the Academy Awards.

• 00:40:00 In this section, the filmmakers discuss the challenges they faced during the editing process of the documentary, including having to cut down over a thousand hours of footage from seven different cameras. They praise the work of their associate editor, Mallory Bracken, who spent four years transcribing and categorizing every single clip, and became an integral part of the team. They also discuss the importance of having a good team, and mention that directors often receive too much credit, as these projects are truly a collaborative effort. Additionally, Melissa, one of the filmmakers, shares her experience of not going to film school but learning how to edit and shoot on her own, and how she became disillusioned with the Fine Art world before finding her passion for documentary filmmaking.

• 00:45:00 In this section, the filmmakers discuss their decision to pursue a project documenting crocodiles in Northern Australia instead of pursuing a Master’s degree. They also reveal that Nat Geo had initially turned their project down when they pitched it in 2019 due to their limited budget, but they eventually won a bidding war against Amazon and Netflix to distribute the completed film. The filmmakers credit their partners' expertise in shaping the final product, and express gratitude towards distributor National Geographic for their scientific approach in selecting scenes to present to different distributors.

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Ep 108 

moonage daydream

00:00:00 - 00:50:00

Brett Morgen, the producer, director, and writer of Moonage Daydream, discusses how his film is not a traditional biographical music documentary but rather an experiential film that offers a narrative that is not necessarily biographical. He also talks about how his interest in documentary filmmaking was sparked by his class on ethnographic film at Hampshire College, where he was introduced to the history of documentary films, and how he later embraced non-fiction filmmaking. Brett Morgen also shares his experience making his other documentaries, such as The Kid Stays in the Picture and Montage of Heck, and his thoughts on the economics of documentary filmmaking. Finally, Brett Morgen discusses how he had a heart attack and was inspired by David Bowie's approach to life, balance, and mortality during his recovery.

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• 00:00:00 In this section of the interview, Chuck Braverman introduces documentary filmmaker Brett Morgen, who recently directed an IMAX film called Moonage Daydream about the legendary musician David Bowie. Brett shares his experience of watching the film in various environments and expresses his delight at its current showing in the IMAX room of the Chinese Theater. He also comments on how impressed he is with IMAX's support of non-fiction films, which he considers an unusual choice for a global launch.

• 00:05:00 In this section, Brett Morgen discusses his film "Moonage Daydream," and clarifies that while it is a documentary, it is not a traditional biographical music documentary. Instead, it is an experiential film that offers a narrative but is not limited to biographical storylines. Morgen notes that genre plays an important role in managing audience expectations with art and that the film's position as a psychedelic musical experience requires a different filter than other biographical films. When asked about how much of Bowie was his actual self versus a showman, Morgen believes that an artist cannot divorce themselves from their art, and that Bowie's art was a reflection of him, as he invited the audience to participate in his performances.

• 00:10:00 In this section, Brett Morgen, producer, director, and writer of MOONAGE DAYDREAM, discusses how he separates the identity of David Jones from David Bowie and how he thinks art inherently reveals truth. He also shares his background, including his love of cinema, growing up in Studio City, and how his severe speech impediment led him to seek refuge in films. Morgen credits his time at the American Film Institute and Jim Hosny, his film criticism, and film theory teacher as transformative, which led him toward the path of becoming a filmmaker.

• 00:15:00 In this section, Brett Morgen describes how he switched from fiction filmmaking to documentary filmmaking. He recounts his experience in a class on ethnographic film at Hampshire College in which he was introduced to the history of documentary films, including the work of Robert Gardner and Timothy Ash. Morgen discovered that subjective montage could reveal a deeper and more elevated truth, leading him to pursue non-fiction filmmaking. This realization influenced his approach to making Moonage Daydream, creating something that presents an intangible feeling that cannot be received through traditional sources of information.

• 00:20:00 In this section, Brett Morgen discusses how he came to embrace non-fiction filmmaking and how it was supported by Barbara Koppel and Chris Choi at NYU. He also reveals his interest in exploring the aesthetics of non-fiction and using the medium to bring subjects to life or to expose certain truths about them. Morgen shares that he met Nanette Bernstein at NYU and the two dated for three years. During that time, he was developing a non-fiction adaptation of Friday Night Lights, which he intended to be his thesis film, and Nanette started boxing at the Bed-Sty Boxing Center.

• 00:25:00 In this section, Brett Morgen, the producer, director, and writer of MOONAGE DAYDREAM discusses his early career and the making of the documentary called "On the Ropes" which he created with his then-girlfriend, Nanette Burstein. The pair had previously considered making a movie together on the topic of basketball but decided against it, thinking that it was too close to the 1994 film, "Hoop Dreams." They decided instead to make a documentary about three aspiring boxers in Brooklyn. The filmmakers approached the project with a strong commitment to sound design, recognizing that non-fiction films could benefit from the same techniques used in fictional films. Through living with the subject matter and forming meaningful relationships with the characters, the film became a success and helped uplift one character in particular, Noel Santiago, who left the projects in Brooklyn and achieved success in mortgages, training, and acting while supporting a loving family of his own.

• 00:30:00 In this section of the transcript, Brett Morgen discusses the economics of his film Moonage Daydream and mentions that he did not make any money from it. He also talks about how the film The Kid Stays in the Picture, his follow-up film, was a success and still generates revenue, but he has not received any royalties from it. Morgen then shares about how he got involved in making a film about Bob Evans, and how that project almost fell through due to legal complications.

• 00:35:00 In this section, Brett Morgen discusses the making of his film, "The Kid Stays in the Picture," and his approach to the subject, Robert Evans. Morgen talks about the dialogue within the documentary community regarding objectivity and subjectivity and how his film addresses these issues through the use of one person's voice to create an entire film. He notes the success of the film at its opening and its later acquisition by HBO.

• 00:40:00 In this section, Brett Morgen, producer, director, and writer of Moonage Daydream discusses how he did not receive any profits from the sale of the DVD rights to Warner Brothers, despite being a part-owner of the film. He mentions that he and the other owners were naive and happy to enter the DGA. Morgen also touches on the making of his film, Montage of Heck, a documentary about the musician Kurt Cobain. Recording Love approached him in 2007 with the treasure chest of artwork from Cobain, which most people did not know about. The film's structure was inspired by Bob Fosse's Lenny, using interviews to give the context and keeping it very intimate with only a few people. Morgen discusses not including Dave Grohl in the film as he wanted to resist the temptation to take it away from its primal and intimate nature.

• 00:45:00 In this section, Brett Morgen, the producer, director, and writer of Moonage Daydream discusses how he crafted the interviews to feel like the subjects were pouring their hearts out for hours. He achieved this by introducing the idea of going from day to night throughout the interviews, which is difficult unless the film is already edited. He also talks about incorporating proper lighting for each interview and how it works to match the film's ending where everyone is in the shadows. Additionally, Brett discusses his recent heart attack that happened when he was making his previous film and how he did not want to promote this film due to health issues. However, he agreed to do press for the film and talked about his heart attack because it was relevant to the movie.

• 00:50:00 In this section, Brett Morgen discusses how he had a heart attack and woke up from a coma, immediately feeling the need to be on set for an important Marvel pilot. After realizing his work had consumed his entire life and left him without balance, he started listening to David Bowie's music and was struck by the artist's approach to life, balance, and mortality. Morgen believes Bowie's life provided a road map for leading a fulfilling life, and he wanted to leave behind that message for his children. The fact that Bowie's themes dealt directly with aging and mortality resonated with Morgen during his recovery.

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Ep 104 

bitterbrush

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00:00:00 - 00:45:00

In this YouTube video entitled "Bitterbrush" two women filmmakers are interviewed about living on a ranch in rural Idaho. They discuss pre-production work, the importance of audio, equipment used for recording, editing, and the funding process. The filmmakers also touch on topics such as seasonal work in rural America and the dangers of horse-breaking, while also sharing their experience with physical and post-production and creative freedom in crafting the film. Finally, the documentary is available on VOD and other platforms like Amazon Prime and Apple TV Plus.

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• 00:00:00 In this section of the video, Chuck Braverman introduces two guests, producer Su Kim and director Emily Mahdavian, who discuss their new film called Bitterbrush. Emily explains that she was living in a remote cabin in rural Idaho when she got involved in the project, and Su talks about her background as a post-production supervisor and how she became involved in producing films. They also briefly discuss their work on other films, including the critically acclaimed Hale County This Morning, This Evening.

• 00:05:00 In this section, two women filmmakers are interviewed about their project called "Bitterbrush," a documentary film about two women living on a ranch in rural Idaho. Emily Thomas, the director, wanted to make a film that explored the transformative experience of living close to the land and with women. She met Holland at a neighbor's house and was struck by her wit, interesting personality, and excellent job skills. Su the producer, was fascinated by the idea of documenting female friendship in a male-dominated world and wanted to learn more about the western lifestyle. Both filmmakers had a background in documentary filmmaking and were curious about exploring new topics. Before filming started, they spent time getting to know each other and their subjects.

• 00:10:00 In this section, the filmmaker discusses how a film that appears observational is usually not completely unstructured, but rather, it is planned to some extent. The filmmaker explains that they did not just hang around waiting for something interesting to happen, but instead did a lot of pre-production work to have a clear idea of what they wanted to capture. The film deals with our relationship to the land, the state of family farms, and the characters' personal concerns. This planning created room for allowing certain moments to emerge and be adjusted if needed, but it was not an entirely unstructured process. Finally, the interviewer asks about a dolly shot in the film, which took a long time to set up, and the filmmaker discusses how the shot was captured.

• 00:15:00 In this section, the filmmakers discuss the technical aspects of shooting on horseback, including using a small gimbal to stabilize the camera, as well as the stunning shot that was captured. They also mention the surprise of one of the characters announcing their pregnancy, a topic that was relatable to the filmmakers as co-director, Emily's, pregnancy coincided with the making of the film. Additionally, the filmmakers share how they achieved high-quality sound recording despite the crew being far away by using wireless microphones and a device called Zach's cams.

• 00:20:00 In this section, the conversation is about the equipment used for recording audio during the documentary production. The Zaxcom ZFR 300 is mentioned as recording straight onto its own pack even though it cannot transmit, which is useful when there are long distances between the crew and the subjects. The importance of audio is highlighted, and sometimes there are surprises during post-production where the audio enriches the scene. The director talks about the low shooting ratio and the unpredictable aspects that were hoped for, such as snow to mark the end of the season. Finally, the possibility of using GoPros for alternate perspectives is discussed but ultimately not purSud.

• 00:25:00 In this section, the director mentions the process of editing and how it is not recommended for a director to edit their own films. She admits to making a first pass of the edit and then bringing in a feature scripted type editor, Curtis Clayton, to refine certain subtleties adding some fiction sensibilities of characterization. When it comes to the music used, she reveals her preference to edit without any distractions from music to help her find the perfect cut, only bringing it in once she is happy with her editing. The director also spoke about how they got the financing for the film, including partnering with Synetic and Magnolia for distribution.

• 00:30:00 In this section, the filmmakers discuss the funding process for their documentary, Bitterbrush. They received initial support from the Catapult Film Fund for pre-production and research and development, and were able to keep costs low in the beginning to work with freedom. They later applied for additional funding and obtained support from Concordia and Wavelength. The filmmakers finished the film during the pandemic, navigating a remote workflow for post-production. They also touch on the budget for the film, which was low and included cinching in the belt in ways that may have impacted the quality of the film, but allowed for the freedom to experiment and craft something special.

• 00:35:00 In this section, the filmmakers discuss their experience with physical and post-production and how it allowed them to plan things in a way that cost a lot less than the traditional way of doing things. They also talk about the creative freedom they had in making the film and how it was an expression of an idea rather than being attached to movie stars or a massive social isSu impact campaign. The director talks about shooting the film by herself with a Panasonic EVA camera and relying on the sound to be taken care of by the self-regulating Zax's mics. The conversation then shifts to the difficulties of shooting alone and getting the muscle memory right, especially if the director is only occasionally picking up the camera. They also discuss the horse-breaking sequence in the film and how time was compressed cinematographically during the scene.

• 00:40:00 In this section, the conversation discusses the training process of horses and how it can be portrayed as brutal from an outsider's perspective. The documentary team wanted to show the real work that went into training a wild horse and the dangers that the women faced while doing so. The stakes are high as the relationship between the horse and the person could go wrong, leading to potential injuries for both parties. The documentary is now available on VOD and other platforms like Amazon Prime and Apple TV Plus.

• 00:45:00 In this section, the speakers briefly touch on the topic of seasonal work in rural America, acknowledging that it may not persist in the long term. They conclude the section by thanking Chuck and the audience.