Odds & Sods

Seen & overheard at Tribeca and HotDocs
June 1, 2003

Tribeca Film Festival, May 3 to 11, 2003, New York, U.S.

‘The thing that gets me up at 4 A.M., terrified, is how do I tell a good story?’

- U.S. filmmaker Ken Burns, Jazz

‘My films never make money, but I always pay the people [in them].’

- U.S.-based filmmaker Aaron Matthews, My American Girls: A Dominican Story

‘Technology is what has allowed us to stay alive as filmmakers.’

- U.S. filmmaker Chris Hegedus, The War Room, on broadcasters’ shrinking per-project budgets

‘If you’re making a politically sensitive film, don’t go to American institutions for funding. Same for anything criticizing American corporations.’

- U.K. filmmaker Nick Broomfield, Aileen: Life and Death of a Serial Killer

Hot Docs, April 25 to May 4, 2003, Toronto, Canada

‘We’re not a factual company, we’re a documentary production company – there’s a big difference.’

- Phil Grabsky, filmmaker, Seventh Art Productions, U.K.

‘What’s a format?’

- Michael Burns, program director/acquisitions,

The Documentary Channel, Canada

‘People would rather watch The Simpsons, and frankly, so would I.’

- Former Discovery exec Chris Haws,

on the ‘stodgy’ docs from risk-averse broadcasters

‘If broadcasters cover a topic in a 10-minute segment on a public affairs show, they feel the subject has been done. This is a problem.’

- Monique Simard, producer, Les Productions Virage, Canada

About The Author
Meagan Kashty is an associate editor of realscreen, an international print and online magazine that covers the non-fiction film and television industries. Meagan is an award-winning business journalist. Prior to joining the realscreen team, Meagan was online editor of Canadian Grocer, named Magazine of the Year at the 2015 Canadian Business Media Awards. She can be reached at, and you can follow her on Twitter @MegKashty