Factual Comment
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The ethics of collaborating with documentary ‘story holders’
Genuinely working with contributors, rather than just filming them, is a powerful tool, writes Anna Keel
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Roy Ackerman: Development should be a joy not a costly barrier to creativity
The demands being placed on producers before a project is even greenlit are creating unnecessary hurdles
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Capital gains: The UK welcomes the world
The London TV Screenings has cemented its place in the industry’s calendar
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Stuart Pender: Podcasts can enhance TV documentary storytelling
Simultaneous commissions of podcasts and TV docs offer an efficient way to enage audiences and dig deeper into your subject
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Why we shot our JFK doc on film
Producer director Sarah Hunt explains the joys and challenges of taking modern-day Dallas back to the 1960s using Super 8
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Dan Walker: TV can still be a powerful tool to make a difference
Programmes which touch people’s lives are public service broadcasting at its finest
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On-the-ground journalism can illuminate humanity across the divides of conflict
Channel 4 commissioning editor Nevine Mabro on the broadcaster’s commitment to international investigations
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Silence from colleagues is a terrible sound for our industry’s Jews
Documentarian Neil Grant issues a plea for understanding as antisemitic incidents escalate in the UK
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Roy Ackerman: A good old co-pro may hold key for future of indie docs
Streamer interest may be waning and budgets getti ng smaller but co-pros with PSBs offer a route to success
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Sunshine Jackson: You don’t have to be #*@! to work here, but it helps
Many filmmakers thrive in a high-pressure environment - but if we want to make the industry more accessible, we have to accept it’s not healthy
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Insensitive true crime titles risk undermining important filmmaking
As channels rush to attract audiences with provocative titles, grieving families can be left feeling traumatised and powerless
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Roy Ackerman: My top 10 tips for navigating an industry reset
Turmoil in the streaming business is striking fear into factual producers, but we will come out the other side
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Black Mirror: reflections on true crime
Charlie Brooker’s pastiche in Loch Henry serves to reinforce the importance of the documentary staple in popular culture argues Will Hanrahan
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Gwenda Carnie: Deal-making tips for creative people
Ahead of the Sheffield Doc Fest, here are some helpful hints for a moment creatives anticipate and dread in equal measure
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Chloe Sarosh: Why we need new voices in natural history
Wildstar Films’ executive producer explains why increasing diversity in wildlife films is crucial
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Factual leads the charge in Cannes
“Unscripted programming is the driving force as documentary accounts for half our Hot Picks”
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Will Hanrahan: look to journalists when setting true crime standards
Established journalistic good practice balances ethical conundrums with exposing wrongdoing – so let’s not reinvent the wheel
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Charlene Chika Osuagwu: ‘Paula’ shows how much still needs to change
The producer of Curious Films’ Paula Yates doc reflects on the questions the film raises over the treatment of women in the public eye
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Neil Grant: Where is the next generation of fearless current affairs reporters?
New recruits’ lack of fire and broadcasters’ failure to support them means there will be no one to take the baton when today’s veterans retire
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Victor Lewis-Smith’s final act of TV rebellion
In Fix or Fail, the acerbic broadcaster takes aim at fluffy business reality shows - and shaped my own philosophy, says collaborator Ryan Howsam