We here at ITVS would like to take this opportunity to bid a fond farewell to Claire Aguilar, who made absolutely vital contributions to the success of ITVS during her 14-year tenure as Vice President of Programming and Executive Content Advisor. As noted in this space recently, the Senior Content Director role is now in the very capable hands of Noland Walker. Meanwhile, Claire has a new opportunity at the prestigious British film festival Sheffield Doc/Fest as its director of programming and industry engagement.
Independent Television Service is excited to announce that Peabody Award-winning documentary producer and director Noland Walker has been appointed Senior Content Director, where he will manage a portfolio of ITVS-funded programs, providing curatorial analysis and program development feedback to producers.
He will also co-curate the Emmy Award-winning Independent Lens series along with Deputy Executive Producer Lois Vossen and PBS, replacing the role of Claire Aguilar after 13 years of distinguished service in the position. In addition, Walker is responsible for identifying trends in the documentary and public media landscape, tracking current projects in the field, and providing recommendations for the funding of public television programming.
“We are thrilled that Noland will be joining ITVS,” said Jim Sommers, Senior Vice President of Content. “He brings a wealth of experience not only as an independent filmmaker but as a highly-respected editorial consultant and advisor for documentaries and transmedia projects. His deep knowledge of public media and commitment to the mission of ITVS are invaluable.”
Most recently, Walker worked with the Boston-based organization AIR, serving as Executive Editor of Localore, an innovative project designed to bring fresh talent, ideas and energy to public media through collaborative production partnerships between producers and local public radio and TV stations.
With over two decades of experience in the development and production of award-winning documentaries, Walker’s credits include two American Experience programs, Jonestown: The Life and Death of Peoples Temple (co-writer and co-producer) and Citizen King, which he produced, directed, and wrote with Orlando Bagwell; producer and co-writer for Boogie Man: The Lee Atwater Story (Frontline); writer for Sam Cooke: Crossing Over (American Masters); and co-producer of Daisy Bates: First Lady of Little Rock (Independent Lens). He also produced and directed an episode of the Peabody and Emmy Award-winning Africans in America, a four-part WGBH series on slavery in the U.S.
Walker served as Creative Advisor during the first three years of the Sundance Institute’s New Frontiers Lab and continues to advise and consult Sundance Fellows on an ongoing basis at the Institute’s request. He serves a similar role for the Creative Lab at Canada’s Hot Docs Film Festival.
Over the past month, ITVS’s Programming Department hosted a number of informative webinars in order to arm filmmakers with the information needed to successfully apply for Open Call funding. With Friday’s deadline fast approaching, we wanted to offer this brief overview of each of the events, which covered everything from writing the ITVS treatment to what makes a successful work-in-progress sample. Check it out and be sure to apply to Open Call by Friday, August 8th.
On July 10th, Programming Manager N’Jeri Eaton hosted the “Writing the ITVS Treatment” webinar. View the archived webinar below:
On July 24th, an OVEE screening was held to review work-in-progress samples and to discuss the process with filmmakers who were successful with their submissions. To find out what makes a good work sample, read the transcript from the “Work-in-Progresses That Work” webinar here. Continue reading
Programming Manager N’Jeri Eaton hosted an informative webinar last week, reviewing the new Open Call submission process and providing insight into writing the ITVS treatment. This archived webinar is available for those who were unable to attend or are looking to brush up on their treatment knowledge.
“Writing the ITVS Treatment” was the first in a series of webinars ITVS is hosting in an effort to provide more resources for filmmakers applying to Open Call. The following weekly webinars will be held in the lead up to this year’s deadline:
Work-in-Progresses That Work Webinar (read the transcript here)
ITVS Budgeting Basics Webinar (read our recap here)
Open Call Live Chat
Please note, ITVS will be accepting Open Call applications through Friday, August 8th. For more information about the Open Call initiative or ITVS funding in general, please go to the updated funding pages on our website. And stay tuned to our blog, Twitter and Facebook!
You’ve given us feedback through surveys, emails, phone calls, and one-on-one meetings. And we have been listening! The Programming Department is excited to announce some changes to our Open Call initiative.
The following changes have been made to the application process for the ITVS Open Call initiative. For a complete listing of rules and regulations, please visit the ITVS Open Call page on the ITVS website.
The upcoming deadline is August 8th. This will allow filmmakers to learn more about the changes to our application process and update their materials accordingly. This will also give applicants from the previous round more time to revise their materials before applying again while also providing a breather for Open Call staff.
SHORTER REVIEW PROCESS
Applicant will be notified about the status of the submissions within 15 weeks of the application deadline. Previously, applicants who went through all three phases of review had to wait up to five months for final funding decisions to be made. We understand that five months can be a lifetime in the course of a film.
APPLICATION MATERIALS CHANGES
One of the reasons we’re able to shorten the cycle length is that we’re making changes to the application materials. Instead of submitting a condensed three-page program description, we’re now expanding the program description to be up to seven pages in length.
We’ve also changed the length requirements for the work-in-progress sample. Now, we will only accept work samples that are between 10 to 15 minutes or a full rough cut that is within 20% of the proposed length. For example, if you’re applying for an hour long project, your rough cut cannot be any longer than 72 minutes.
If your project gets to the Panel Review phase, then we will only ask you to send a production questionnaire and a full budget in addition to the materials you previously submitted. Continue reading
The countdown to the 2014 PBS Annual Meeting is in full force! While many will be busy attending different events and sessions, it is important to remember to take some time to sit back and enjoy the wealth of culinary delights San Francisco has to offer.
Check out a few of our favorite food and drink spots, all conveniently located near the Marriot Marquis:
Located on a quaint pedestrian only street that used to be the center of San Francisco’s red-light district, Maiden Lane is now lined with high-end retail shops and quiet cafés that spill into the street. Sit back and enjoy a cappuccino, tea, or a tasty treat at one of the outdoor cafés. Maiden Lane, btwn Stockton St. & Kearny St.
Downstairs in the historical Hearst building sits a cocktail bar that will take you back in time. Inspired by the journalism industry of the 50’s and 60’s Local Edition offers contemporary and traditional cocktails. Try their updated versions of the Bloody Mary or Gibson as you sit among vintage San Francisco newspapers.
691 Market Street
In less than a week, public television professionals will gather in ITVS’s hometown of San Francisco for PBS’s Annual Meeting and we thought it would be fun to provide attendees with recommendations for things to do and see while in town.
Whether you’re a bibliophile in search of some good reading material or just want to experience a bit of indie history, here are a few of our favorite literary, theatre, and music destinations:
Founded in 1953, this literary landmark was once the go-to spot for the poets and beatniks of the counterculture era. Today, City Lights is three floors high and filled to the brim with both new releases and obscure titles from small, harder-to-find specialty publishers. If you’re looking for something special to bring back home, check out their local section – you won’t find mementos like these in the airport gift shop! 1585 Folsom Street.
Not only does Green Apple make an appearance on just about every “Best of the Bay Area” list there is, in 2012 author Dave Eggers named it one of the best bookstores in the country. Come prepared by grabbing a snack at the nearby Toy Boat Dessert Café, because you truly could spend hours browsing one of the largest collections of used books in the city. 506 Clement Street
While the film on the screen may be the main attraction, this 1920s movie palace truly steals the show; the fantasy setting includes ornate ceilings, gold-framed mirrors, dramatic mezzanine staircases, and a pipe organ that is played before selected films and events. You’ll find a wide array of films and activities on the schedule, including repertory movies, cult classics, theme nights, film festivals, and sing-a-longs. 429 Castro Street Continue reading
The documentary community is mourning last week’s loss of exceptional filmmaker and esteemed colleague, Danny Anker. Senior Producer and head of production at ITVS Richard O’Connell pays tribute.
The passing of Danny Anker on Monday, April 21st is a huge loss for all of us who care about the art and craft of documentary film. Danny is best known for his narrative documentaries, Imaginary Witness: Hollywood and the Holocaust and his Oscar-nominated film, Scottsboro: An American Tragedy, which was broadcast on PBS.
I was lucky enough to work with Danny when he was making his film Music From the Inside Out, a film that remains one of my personal favorites. It has all the elements we have come to expect of documentary filmmaking at its very best: original, captivating, artistic, heartfelt, and of course, enlightening. Music From the Inside Out would go on to be presented on Independent Lens and be seen widely across the world in festivals and with a limited theatrical release – a huge success by anyone’s standards.
Danny strongly believed that public television was the best home for Music from the Inside Out. Much like the way he explored music in the documentary, Danny wanted the film to be accessible to everyone. His meticulous and exacting approach in all aspects of filmmaking was evident in the impeccable production values of the film, particularly the knock-out recordings of the music. It was also a joy to witness his beautifully crafted insights into both the creative process and his belief as to why music is so important to our lives.
The film was a testament to Danny’s creativity and the originality of his approach, which is one of the reasons why this film is the one I most often want to share, even with my own children. Working with Danny was a pleasure and while I am not saying it was always easy, Danny’s tenacity and passion for his work exemplified the nature of what it takes to be successful in this field. He was a true independent producer, a model professional, and like all great documentary filmmakers, his dedication and passion to the project never wavered – despite the film taking more than six years to complete. ITVS is very proud to have worked alongside Danny and consider it a privilege to have shared his work with the public television audience.
By Karim Ahmad
ITVS Senior Digital Content Strategist, @the_karachi_kid
ITVS recently hosted four producer teams who were greenlit by the organization’s newly developed ITVS Storylab initiative. These producer teams met with ITVS staff and external mentors to gain intensive consultation in the areas of story development, user experience mechanics, and producing multi-platform content.
In early April, ITVS rekindled its love affair with the hackathon. And while we’ve hosted hackathons before, this was something different. This time, we weren’t coding anything. We were hacking story. Not a totally new concept, our process was inspired by our good friends at StoryCode, who’ve run a couple story hackathons in the past – events borrowing from the software development world’s rapid prototyping process to create digital multi-platform stories at breakneck pace. And that’s exactly what we did. We selected a handful of immensely talented indie storytellers with ideas for immersive webseries concepts, and locked them in a room for two days to conceptualize, scope, and paper prototype them for ITVS.
And why? To answer that, let me back up a few steps.
Call it what you like – immersive storytelling, cross-platform, cross-media, or the now-seemingly-dreaded “T-word” (aka transmedia) – if you’ve had a conversation with me about it in the last couple years, you know I have a real obsession with it’s applications to creating impactful and artistic fictional storyworlds. Interactive docs are awesome. But as I said at our recent SXSW panel on the very same subject, i-docs are officially everywhere – including here at ITVS – but if you ask me, the real wild west of transmedia storytelling right now is in fiction.
Look at most narrative webseries and you’ll find they mimic a broadcast paradigm – either the episodic serial or the anthology, like FUTURESTATES. And while I love these stories, I’ve long felt that the new opportunity with web series is to create one that doesn’t feel like a broadcast series – one that really unleashes the user experience potential of web to tell a nonlinear story in serialized form. Our upcoming and final season of the FUTURESTATES series is exactly that. The first act of this narrative is unfolding right now on Twitter and Tumblr. And on May 14, 2014, we’re taking it to a whole new level. It’s a multi-platform futuristic mystery, with you at the center of it all. Stay tuned, you won’t want miss it. Continue reading
We have lost a beloved colleague and a dear friend. Patrick Baroch, ITVS’s National Engagement Consultant in Seattle, passed away last week in Port Orchard, Washington.
The loss to ITVS and the world-at-large is immeasurable. In his role organizing Community Cinema screenings in the Pacific Northwest for the past nine years, Patrick cultivated a vibrant community of partners who collaborated with him to present memorable events that left a lasting impact on those who participated. Beyond his work in the Northwest, Patrick guided and supported 20 other ITVS partner organizations across the country in producing local engagement activities inspired by our documentaries. He approached his work with creative zeal, warmth, intelligence, and humor. Words cannot express how much he will be missed. Continue reading