All POV Seasons
The Oath: Making Films in the Middle East
September 21, 2010
The Oath filmmaker Laura Poitras talks about being a woman filmmaker in Yemen, how she communicated with Abu Jandal and more.
Off and Running: From Words to Song
September 7, 2010
In this behind-the-scenes look at Off and Running, the film's composer, Daniel Bernard Roumain (DBR), works with the film's subject, Avery Klein-Cloud, to create a soundtrack. Daniel explains that as a composer, what's important to him are the words that Avery chooses to describe specific scenes.
El General: Style, Narration and Process
July 20, 2010
Filmmaker Natalia Almada about her stylistic approach to making El General, capturing the beauty of Mexico City and recording the film's narration.
Good Fortune: On the Challenges of Filming in Africa
July 13, 2010
Filmmakers Landon Van Soest and Jeremy Levine discuss the five year process of creating Good Fortune, including storyboarding in the Yala Swamp and contracting malaria.
The Beaches of Agnès : Production Notes
June 29, 2010
Agnès Varda writes about the making of The Beaches of Agnès, from the concept to the costumes, sets and music, to the locations and the way the film was edited.
The Way We Get By: Managing the Personal and the Professional
November 11, 2009
Aron Gaudet and Gita Pillapully talk about their backgrounds in television news, and how the film was both a professional and personal journey for them as a couple.
The English Surgeon: Sound and Image
September 8, 2009
Geoffrey Smith talks about working with Nick Cave and Warren Ellis, who created the soundtrack for The English Surgeon and what it was like filming the scene of Marian's brain surgery.
Ella Es el Matador (She Is the Matador): Filming Flexibility
September 1, 2009
Celeste Carrasco and Gemma Cubero discuss their filmmaking process, shooting on a tight budget and making it work with a crew of two.
Hold Me Tight, Let Me Go: A Filmmaker's Relationship to her Subjects
July 28, 2009
Filmmaker Kim Longinotto talks about her filmmaking process, the intensity of shooting vérité documentaries and how her editor, Ollie Huddleston, instilled in her the importance of the long shot.