Nichols Ch 3 (58-68: "Invention" onward), Barnouw Ch 4 (p 213-228: Promoter)

Sponsors have been a part of camera work since its conception. Early photographers were largely wealthy people with expendable time and resources. This bled into film, even more so because of the increasing complexity and cost. How documentarians choose to deal with funding can greatly impact the outcome of a project. In the documentary “Conan O’Brien Can’t Stop,” O’Brien offered to fund the project, made by one of his friends. The friend refused, stating that the funding of the project by the subject would taint the authenticity of the work. Being careful to set boundaries of the influence of financiers in regards to creative control and final cut is critical to the success of a documentary.

What are some examples of filmmakers defying the wants of their financiers? When did it bode well? When not? Why?

What are some examples of movies squashed by differences between filmmaker and financier?

How can filmmakers properly set up boundaries between them and their financier?

What do filmmakers do to ensure final cut?

What do filmmakers do to ensure creative control?