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Inside PBS’s POV Strand (2/2): Filters & Selection Process

2011 January 9
by Peter Hamilton

Last week, we covered the POV pipeline, including typical production budgets, license fees and more.

In this post: 

  • What is POV’s selection process, from Open Call to Offer?
  • What is the Timeline?
  • Who makes the decisions?

We spoke with Executive Producer Simon Kilmurry and Director of Programming & Production Chris White.

Selection Criteria

Filters

  • Great non-fiction storytelling
  • Address social issues and issues neglected elsewhere
  • Have a strong point of view from the filmmaker and/or the characters
  • Character-driven
    • “Our strand is called ‘POV’ for a reason” says Chris White. “Our films are often a subjective take on a controversial issue.”
    • “POV films Involve viewers in an issue through the eyes of an active participant or observer.”
  • Aesthetically bold: “The filmmaker has a unique editorial style that pushes the boundaries of the craft of filmmaking.”
  • Emotional resonance

Curatorial Discretion

  • POV’s filters are combined with a “curatorial eye”
    • The POV team ensures that themes and styles are not repeated
    • And that needed topics are explored

Thematic Acquisitions?

We noted that three films dealing with the subject of adoption were selected in 2010. Does POV plan any thematic programming events like HBO Docs’ Addiction Project or its upcoming Obesity series

  • “The adoption selections weren’t a deliberately planned thematic event” says Chris White. “It was a coincidence that we found ourselves with three remarkable films on the same topic. However, once the selections fell in place, we built an extensive and successful outreach campaign around issues related to adoption.”
  • “Themes frequently emerge organically” says Simon Kilmurry. “Examples are human rights and immigration.”

Topics: Domestic? Or Global?

  • U.S. topics: 10+/-
  • International topics:  6+/-
    • “About half of these come from international filmmakers – but the mix varies year to year.”

Marketing and Promotional Clout

We asked if it makes a difference if a project arrives with powerful marketing relationships in place:

  • “We’re interested in hooks and ties that will expand a film’s audience. But it’s the quality of the film that leads the decision.”
  • POV develops national public awareness campaigns which can include presenting films to critics at the Television Critics, satellite tv and radio media tours

Technical Format

  • HD
  • Film

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Connect with Key International Decision Makers at
History Makers 2011
New York City, January 26-28th, 2011

History Makers will connect you with the international executives and program makers working in Factual content creation, broadcast and distribution. Featuring incisive sessions addressing the most pressing issues facing Factual production – including a special focus on the impact of digital media on History, Current Affairs and Non-Fiction broadcasting – History Makers will keep you on the forefront of the Factual industry.

History Makers 2011 will deliver:

  • Facilitated Face to Face meetings and Decision Maker Lunches with the top executives from major international broadcast markets, including North America, Europe and Asia.
  • Keynote presentations from Factual broadcast veterans Bill Moyers and Simon Schama
  • Forward-looking sessions  produced in partnership with nextMEDIA, one of the world’s premier digital media conferences. These digitally-focused sessions will address the changing role of broadcasting in the larger media landscape, with a spotlight on interactive Factual projects, cross-platform programming and innovative new formats.
  • In-depth analysis of major trends for Factual programming in 2011, featuring sessions on the new role for single doc specials, the growth in the Asian market, and the explosion in Crime and Investigation programming.
  • The 2011 History Makers Awards, which will include a special achievement award presentation to FRONTLINE, U.S. public television’s flagship Current Affairs Series, accepted in person by Originator and Executive Producer David Fanning.

Join us in New York at the Marriott Marquis
January 26-28th 2011
Register Today!
www.historymakers2011.com

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POV’s Acquisitions Process & Timeline

1. Open Call

  • End of June
  • POV receives 800-1,000 entries for 16+/- slots
  • The entries fall into three categories based on their level of completion:
    • In the Works
      Treatment and some scenes are complete
      Few projects are funded that are in these early stages
      But many are watched or mentored for the next year’s Open Call
    • Completion Funding
      Substantially complete: rough cut or close
      They represent 50% of funded projects
    • Fine Cuts
      Films need post: 50%  of projects

2. Scouting

POV staff also attends many markets and festivals scouting for projects in production

  • These include IDFA (Amsterdam), Hot Docs (Toronto), Sheffield Doc/Fest and others

 3. Screening for Short List

  • June- September
  • 20 pre-screeners + 5 POV staff members sift through the 800-1,000 Open Call applicants
  • They develop a shortlist of 25-30 films

4. Editorial Advisory Committee

  • Selection panel is comprised of
    • 6 public TV station representatives
    • 6 independents, including filmmakers and festival programmers
    • Panel is sequestered for a long weekend in early October
      • Each film is screened by 4 of 12 panelists
      • Each film is presented to the full panel, with extended clips
      • Final 15-16 films recommended by end of weekend
    • POV team exercises a final ‘curatorial filter’ in case a topic or style of filmmaking is over-represented
    • The final decision made by POV’s executive producer

 5. Contract

  • Offers are sent out after final decision

 Post/Completion

  • Filmmakers who accept the offer complete their work and cut their film to the POV clock
  • Kilmurry says “POV provides editorial feedback and support, but we don’t make the final cut. The filmmaker’s vision is key.”
  • The work is completed either in the filmmaker’s facilities or in POV’s editing suites
  • Winners are announced in early February

Broadcast

Schedule

  • The POV slot is scheduled weekly on Tuesday nights at 10PM, June-October
  • Occasional ‘Pop-out Specials” are scheduled at 9PM
    • These are comprised of “bigger” films like Food Inc or The Most Dangerous Man in America

Audience

  • The PBS footprint covers 115 million TV households, and POV reaches 96%+/- of them
  • Audience for premieres:
    • High: 1,900,000
    • Low: 500,000

Outreach

  • POV has a mission to create dialogue in communities around issues that are raised in its films
  • The POV team works in partnership with local organizations and PBS stations
    • In 2010, POV arranged 400+  local screenings
  • Lesson plans, discussion guides and resource lists are developed for all films
  • POV maintains an active PR operation:
    • According to Kilmurry: “We earned 30,000 press hits in 2010 – on radio, TV, print and online.”

Other POV Initiatives

  • American Documentary Inc is the non-profit organization that is the parent of POV
  • It also offers the TRUE LIVES series of independent films to PBS stations
  • The license fee for TRUE LIVES is $5,000

Coming to Brooklyn

In 2011, POV crosses the East River from its lower Broadway location in Manhattan to Brooklyn’s DUMBO (Down Under Manhattan Bridge Overpass) neighborhood.

American Documentary Inc. is building a screening and workshop facility for use by POV filmmakers and partner organizations.

More on Documentary Slots

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SPEAKING ENGAGEMENTS

REALSCREEN 2011
Workshop with A&E’s Stephen Harris
January 31, 2011, Washington DC
Getting Your Concept to the Side of the Bus:
A Network Insider’s Guide to
Greenlighting a Factual Program
Improve your chances of success as you learn what’s inside the minds of network executives as they take pitches, buy in to them, promote the strongest concepts to their colleagues, budget productions, and fight for the final sign off. 
———–———–
AIDC
Australian International Documentary Conference
1 – 4 March 2011, Adelaide, Australia

Watch out for details
———–———–

Documentary Campus
in association with the
One World Film Festival
New Directions in Human Rights Documentaries
(Working Title)
11-13 March 2011, Prague, Czech Republic
Watch out for details
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from → 'Sweet Spots', Commissioning Process, Public Television

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