You probably heard yourself saying some or all of these things

• I’ve got a rough cut, it’s not working.
• My rough cut is 3 hours long
• I love my rough cut, but people are falling asleep during test screenings
• I got a lot of feedback from different people, I don’t know what to do about it
• I got feedback from an important industry professional, I need to integrate that
• I have lots of footage, I can’t find the story and don’t know where to start
• I have lots of ideas and need to evaluate which one to pursue and how
• I need to write a treatment: how could I if I don’t know how the film will unfold?
• I have re-written my synopsis and treatment so many times, I’ve lost focus
• My film didn’t make it into any festivals, and I’m considering re-cutting it.

Any smart person can look at your film and articulate insightful comments. The issue is whether they have a proven, supportive method and have sufficient contact with key industry players to give you accurate, realistic information. Here are some common ways filmmakers look for help with their films and their pros and cons:

• assortment of coping strategies:
from firing your editor to giving up altogether (see list)*

+ it gives you a distraction or an excuse to step out of your film
- it doesn’t solve the issue
= read list below and be aware of the pitfalls

• looking for the answer on the world wide web

+ you’ll get free resources
+ you’ll get lots of options and offers for “help”
- the accuracy of such information is not checked by objective third parties
= don’t act in desperation; check, check and check some more

• compulsive and obsessive test screening

+ great to learn how potential audiences will react

+ they may give you contradictory advice

- you may not be ready to hear so much feedback at once
= do test screenings for the right reasons and at the right moment

• feedback from a famous or accomplished filmmaker

+ such mentoring is invaluable if you aspire to be like him/her
+ a door into a higher or different arena of the doc world

- they may take over the film unknowingly they know filmmaking

- they may not know how to transfer that knowledge
= keep your relationship with this important person safe by listening and looking for extra support elsewhere

• feedback from an experienced editor

+ you get the benefit of their experience if you can’t afford them full-time

- they may offer “a” solution, a brilliant one, but not in tune with your vision

- they may or may not be in touch with industry professionals

- they may or may not be aware of market needs and trends
= get the feedback if you must, it’s always good to know what people think
note: many editors told me they got tired of being asked to watch a cut with the promise of a job, to then see the filmmakers go to somebody else and use their input. They started to call that preliminary job interview a story consultation and charge for it. Only fair! It should be called an “Orientation or Informational Session”

• feedback from fellow filmmaker or former filmmaker

+ you get the benefit of their experience, they know the suffering first hand
- they may offer “a” solution, a brilliant one, but not in tune with your vision
- they may take over the film unknowingly (or very much on purpose)
- they may or may not be in touch with industry professionals any longer
- they may or may not be aware of current market needs and trends
= get the feedback if you must, it’s always good to know what people think
note: many filmmakers try to complement their income offering services they may or may not be qualified for or experienced enough, check credentials and track record with third parties.

• feedback from a writer

+ they understand storytelling
+ they are extremely good at selecting sound bites
+ some know how to write voiceover copy
- they may give you feedback with an emphasis on words rather than images
- they may or may not be in touch with industry professionals
- they may or may not be aware of current market needs and trends
= get their involvement to have a second opinion on written texts

• feedback from an industry professional: distributor, broadcaster, etc.

+ very important to get them involved early on
+ they do know what’s going on in the business

- their feedback is appropriate for their network or the area they work in

- they may or may not know how to transfer their knowledge in a way that’s suitable for your creative style.
= keep detailed notes of their comments and look somewhere else for how to implement them; consider if that’s the film you’re trying to make

• feedback from teachers, academics, film critics, curators, etc.

+ they have vast comprehensive theoretical knowledge
+ very important to get them involved early on to extend your network
+ they do know what’s going on in the business (if a film critic, curator)

- their feedback is appropriate for their festival or program or class

- they may or may not know how to transfer their knowledge in a way suitable for your creative style.
= keep detailed notes of their comments and look somewhere else how to implement them if those are the people you’re trying to please.

• feedback from a grant foundation

+ invaluable since they see lots of projects
+ they’ll talk about your project to others

- their comments are for the type of films they fund, not the entire world
- the evaluators change with each cycle

- they may or may not know how to transfer their knowledge in a way that’s suitable for your creative style.
= keep detailed notes on their comments and look somewhere else how to implement them (if you feel they are right)

*list of coping mechanics:
-firing editor (not his/her fault)
-reviewing all the material all over again (it may work, time consuming, though)
-working on another project (original problem will migrate to this project)
-blame lack of time, money, crew, etc. (time, money and crew magically appear when your know how to tackle your story

• tools and methods –not formulas and recipes: We’ll collaborate with a method tailored to your vision, goals and working style. I’m not an outside expert telling you what to do. You are the expert –I’m the midwife. And I’m not just saying it because it sounds good, over 300 filmmakers can attest to it.

• experience –not speculation: You’ll benefit from the successes and hard earned lessons of other people that worked with me. Among the many many MANY films that I doctored, the issue you’re dealing with surely has come up at least once and I got to witness the long-term results of the choices made.

• connected to the real doc market: You’ll benefit from my active involvement in the real world of docs. I’m invited to lecture at the major conferences and markets of the world, which gives me a chance to be in contact with the key players of this business. Nobody can promise you an “in” –except a distributor– however I can promise you I work hard to stay current and pass those benefits to the filmmakers I work with.