Thank you. We need to have these hard conversations about documentaries. Everyone makes mistakes in their work, it's correcting those mistakes that is important. I hope the production team can reflect publicly on their methods without necessarily having to change their opinion on their beliefs.
I’d like to see that, but I sincerely doubt they can find the introspection to do so. But hey, let’s see what happens. Also, while on this subject, a board of advisors member of the VII Foundation wrote a review for the film. Optics aren’t everything, but as photographers, we see an awful lot that most would prefer unseen or unnoticed. We see this. Optics in this case mean a lot. Read up on Vaughn Smith/Frontline Club.
Ya. As someone with their own board it’s completely ridiculous. Our board would never be allowed to do that, total conflict of interest. The damage control is laughable. As a filmmaker why wouldn’t you want to send your film to members of the press.
Having followed this misadventure from the first time I read about it. Your piece is excellent well presented.
Thank you. We need to have these hard conversations about documentaries. Everyone makes mistakes in their work, it's correcting those mistakes that is important. I hope the production team can reflect publicly on their methods without necessarily having to change their opinion on their beliefs.
I’d like to see that, but I sincerely doubt they can find the introspection to do so. But hey, let’s see what happens. Also, while on this subject, a board of advisors member of the VII Foundation wrote a review for the film. Optics aren’t everything, but as photographers, we see an awful lot that most would prefer unseen or unnoticed. We see this. Optics in this case mean a lot. Read up on Vaughn Smith/Frontline Club.
Ya. As someone with their own board it’s completely ridiculous. Our board would never be allowed to do that, total conflict of interest. The damage control is laughable. As a filmmaker why wouldn’t you want to send your film to members of the press.