Blogging Hot Docs: BBC's Nick Fraser Named a "Doc Mogul"

Filmmaker Paul Devlin reports on the 2008 Hot Docs festival in Toronto


The Doc Mogul: Nick Fraser, Paul Devlin, and friends at a luncheon honoring the creative force behind BBC's "Storyville."
The Doc Mogul: Nick Fraser, Paul Devlin, and friends at a luncheon honoring the creative force behind BBC's "Storyville."

Sometimes filmmaking comes down to arts and crafts.

We rushed to get our BLAST! poster done for the festival. So we wanted to make damn sure it was going to get seen as much as possible.

As added time pressure, Nick Fraser was being honored at a luncheon at the Sutton Place Hotel where we were staying. He was getting Hot Docs “Doc Mogul” award and since he is BLAST!’s executive producer, we figured it only right that the poster for one of his films be at the luncheon.

So at the risk of breaking some rules and perhaps being a little tacky, we went to the local arts supply store, bought some easels, poster board, and double-sided tape, and prepared our poster for display, proudly highlighting Nick’s role—and the showtimes. Then we placed it prominently in the luncheon room, which had a gorgeous 360-degree view of Toronto. No one seemed to mind.

Nick loved the poster and has been incredibly supportive of the film. I agree with the tributes at the luncheon – Nick is a one-of-kind personality and his positive contribution to factual filmmaking has been immeasurable. Considering how all these films have ripple impacts as they reach audiences across the world, that represents an impressive influence on our times.

The luncheon was hosted by Rudy Buttignol, the president and CEO of Knowledge Network*, who was last year’s Doc Mogul. Speakers included Michealle McLean, TDF Director; Sheila Nevins of HBO (who offered an amusing list of why she DOESN’T like Nick – “He’s too smart…. He knows immediately how to “fix” a movie… He lost 20 pounds…”); Mette Hoffman Meyer, who gave a charming account of her first meeting with Nick in Copenhagen, visiting some of the more unusual, alternative sites of that city; Rachel Wexler, co-producer of The English Surgeon, who represented the views of many filmmakers with a short survey that showed that many of films would not exist if Nick had not come aboard early; the BBC's Greg Sanderson, who expertly navigated the line between tribute and sycophancy; and Eugene Jarecki , director of Why We Fight.

Eugene is remarkably well-spoken, and told me he improvised that speech, which ranged from the first pitch he ever made to Nick, which happend at a urinal, to some thoughts on today's world economic themes. Jarecki's concluding line: “Nick is my teacher; I’m proud to be his student.”

And then it was Nick’s turn. I will navigate the line between tribute and sycophancy as well, by jotting down some paraphrased moments:

After seeing Hoop Dreams, I thought we must have more films like this…

We crave reality.

Citing a poem, he said we "pray for the grace of accuracy."

Documentaries must strive for impartiality.

The "weather" has changed for documentaries. It’s harder to find money. We cannot continue to ask filmmakers to make these sacrifices. It is too hard. People will stop making them, if we don't support them.

The system that supports documentaries is an ad hoc nexus of relationships with minimal security for filmmakers. It is fragile and under strain as broadcasters lose interest in documentaries.

Filmmakers are turning toward making films for micro-niches of the converted—even to making films just for themselves. But filmmakers should continue to take risks and stay ambitious. Commissioning editors must make brave choices and remember how hard it is for filmmakers. Generosity, please.

I would love to see that speech published. In inspiring terms, Fraser warned the audience of the debilitating trends that are emerging for documentary film. At the same time, he encouraged us to continue to strive to do good and important work. It really conveyed a zeitgeist moment – the developments that have created an amazing vitality in the form (such as new access to technology and distribution) also threaten to crush it with a glut of work, much of which leaves gatekeepers and audiences feeling indifferent. Documentary filmmakers must learn how to cope and survive in this splintered, confused marketplace.

We took the inspiration with us as we got ready for the premiere of BLAST!, my new film. In an act of still more guerrilla marketing. we planted one poster easel outside the Royal Ontario Museum, and then managed to get inside the building where the TDF opening party was happening, where we planted another sign right at the entrance to the party. Somtimes you have to be shameless.

* Correction: In the version of this blog originally, posted we referred to Rudy Buttignol as the head of network programming at TVO; that was his previous job. We regret the inaccuracy.

Related Links:

Watch the BLAST!.

Read Paul Devlin's posting on his film's world premiere at the 2008 Hot Docs Festival.

Read Devlin's posting on the opening day at Hot Docs.

Visit the BLAST! website.

Visit the official Hot Docs website

Read about the process of making the film BLAST! at Artistshare.com.


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