POV Revealed (2/2): The Filters & Selection Process. What Are Your Odds of Success?

We continue our updated coverage of POV, the flagship PBS documentary strand with a peak audience of 1.9Mn viewers.

In this post: What is POV’s selection process, from Open Call to Offer?

• The Filters.
• Timeline?
• Who decides?
• What are your odds?
• Read POV Revealed, Part 1.
• Also: POV‘s 2015 and 2014 selections.

SELECTION PROCESS

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 EP 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 redundant.
• And that needed topics are explored.
• “Themes frequently emerge organically” says Chris White. “Examples are human rights and immigration.”

Domestic? Or Global?

• U.S. topics: 10+/-
• International topics: 6+/-
  • “About half of these come from international filmmakers – but the mix varies from year to year. This year, we are at about 50/50.”

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 our 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

ACQUISITIONS PROCESS & TIMELINE

1. Open Call

• End of June
• POV receives 1,000+ entries for 16+/- slots
• The entries fall into three categories, based principally on their level of completion:
  • Early Introduction
    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
  • Standard
    Films need post: 50% of projects.
    Completed Films.
    Rough cuts.
  • Shorts
    30 minutes and under

2. Scouting

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

• These include Sundance, IDFA (Amsterdam), Hot Docs (Toronto), Sheffield Doc/Fest, Full Frame, IFP Independent Film Week and others

3. Screening for Short List

• June-September
• 20 pre-screeners + 5 POV staff members sift through the 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 in its entirety
  • Each film is presented to the full panel, with extended clips
  • Final 15-16 films recommended by end of weekend
• The 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 team.

5. Contract

• Broadcast offers are rolled out after the editorial committee and POV staff editorial meeting

POST / COMPLETION

• Filmmakers who accept the offer complete their work and cut their film to the POV clock
• Chris White says “POV provides editorial feedback and support, but we don’t make the final cut. The filmmaker’s vision is the key.”
• The work is completed by the filmmaker or sometimes in-house at POV.
• New season is announced in early February

BROADCAST

Schedule

• The POV slot is scheduled weekly on Monday nights at 10PM, June-October

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 foster dialogue in communities and classrooms around issues that are raised in its films
• The POV team works in partnership with local public television stations, national non-profit organizations, cultural institutions, community groups, educators and more to facilitate free screenings, discussions, panels, roundtables, conference sessions and workshops.
• Every year, POV facilitates 600+ screening events across the U.S.
• POV develops resource materials for every film to help foster dialogue, education and action. These materials include standards-aligned lesson plans, discussion guides and reading lists, all available to download for free.
• Examples of outreach resources are: Here, here, here and here

OTHER POV INITIATIVES

American Documentary Inc is the non-profit organization that is the parent of POV.

• A new series AMERICA REFRAMED was launched in 2012 in collaboration with PBS WORLD.
• AMERICA REFRAMED licenses completed films focused on contemporary American stories.
• Films that are in a second window are eligible for AMERICA REFRAMED
• The license fee for AMERICA REFRAMED has been $4,o00 for a two-year license, which POV is hoping to increase.
• POV HACKATHONS:
  Held 4 times per year, the HACKATHONS  are a place to experiment with new digital storytelling tools, matching filmmakers with coders and programmers to develop prototypes.
• Digital Co-productions:
  With funding from the John S. and James L. Knight Foundation in 2014-15, POV increased its digital co-productions,hired a technology fellow to create VR tools for film and media makers; and POV continues to host successful Hackathons throughout the year.
• Filmmaker Resources:
  POV launched a new online resource for filmmakers with opportunities for funding, distribution and festivals.

Partnerships

POV partners with The New York Times to co-produce a series of digital documentaries to premiere on both organizations’ websites, with accompanying articles and interviews.

Thanks

Many thanks to Nicole Tsien for her contribution to our coverage of POV.

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2015 SCHEDULE

All regular programs aired Mondays at 10p. Here is the press release.

• June 22  – Out in the Night by Blare Dorosh-Walther
• June 29 – The Overnighters by Jesse Moss
• July 6 – Tough Love by Stephanie Wang-Breal
• July 13 – Web Junkie by Shosh Shlam and Hilla Medalia
• July 20 – Return to Homs by Talal Derki
• July 27 – Tea Time by Maite Alberdi
• August 3 – Beasts of the Antonov by Hajooj Kuka
• August 17– Neuland by Anna Thommen
• August 24 – Point and Shoot by Marshall Curry
• August 31– The Storm Makers by Guillaume Suon
• September 18 – Cutie and the Boxer by Zachary Heinzerling
• September 21 – Don’t Tell Anyone by Mikaela Shwer
• September 25 – Art and Craft by Sam Cullman Jennifer Grausman
• October 2 – Ai Weiwe: The Fake Case by Andreas Johnsen

POV promotion at Photoville 2015,  Brooklyn Bridge Park

POV 2014 SCHEDULE

All regular programs air Mondays at 10 p.m.

• June 23 — When I Walk by Jason DaSilva
• June 30 — American Revolutionary: The Evolution of Grace Lee Boggs by Grace Lee
• July 7 — My Way to Olympia by Niko von Glasow
• July 14 — Getting Back to Abnormal by Louis Alvarez, Andrew Kolker, Peter Odabashian, and Paul Stekler
• July 21 — Dance For Me by Katrine Philip
• July 28 —Fallen Cityby Qi Zhao
• Aug. 4 — 15 to Life: Kenneth’s Story by Nadine Pequeneza
• August 11 – Neurotypical by Adam Larsen
• August 18 – A World Not Ours byMahdi Fleifel
• August 25 – Big Men by Rachel Boynton
• September 1 – After Tiller by Martha Shane and Lana Wilson
• September 8 – The Genius of Marian by Banker White and Anna Fitch
• September 2 – Koch by Neil Barsky

Fall/Winter Special Broadcast:

• October 6 – The Act of Killing by Joshua Oppenheimer

Spring Special Broadcast:

• Cutie and the Boxer by Zachary Heinzerling (date TBA)