Raising money for art films has never been a cakewalk, but many producers feel it is harder to land financing earlier if a doc cannot demonstrate measurable impact. “I met people working in the traditional side of the industry that supported my work and yet writing checks is a different thing,” he says.Īs docmakers working on films with a social issue focus have succeeded in unlocking new funding from networks, philanthropists and other investors, those with conceptually adventurous projects report feeling devalued. Still, Greene does not consider those earlier meetings a waste. Konstantakopoulos, whose Faliro House Productions has backed such projects as Terrence Malick’s Knight of Cups. His financing eventually came through a Sundance Institute grant and a contribution from Greek shipping heir and auteur patron Christos V. “I had a great meeting and the guy was like, ‘Is it going to be The Jinx or is it going to be an art film like you’ve done before?'” “We had tons of meetings and everyone was interested but in the end, it’s still that limit of, ‘Is this a lay-up for television?'” he tells realscreen. It was a hit with critics, but Greene’s approach was not as popular in the funding stage. By documenting this process, Greene explores “the sometimes unstable boundaries between performance, the authentic self and the storytelling impulse,” as he put it in the press notes sent to reporters when the doc had its world premiere at the 2016 Sundance Film Festival. Kate Plays Christine follows actor Kate Lyn Sheil as she travels to Sarasota, Florida, and eventually acts in staged scenes. Instead, he hoped to understand his own obsession with this disturbing tale as well as the impulse that drove Chubbuck to do what she did. Greene has always been fascinated by the story but did not want to do the standard biopic. Although the subject matter was not unusual for a doc, his approach was: follow an actor preparing to star in a movie-within-a-movie about the life of Christine Chubbuck, a Florida TV reporter who committed suicide on live television in 1974. Two years ago, director Robert Greene pitched Kate Plays Christine to commissioners and funders at pitch forums and in private meetings.
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