×

Why Documentaries Deserve Below-the-Line Love

Louis Forbes was nominated for his music score of the 1953 “This Is Cinerama.” It was an Oscar first: A documentary nominated in a different category.
It took two decades for a recurrence: Gerald Fried was nominated for his “Birds Do It Bees Do It” doc music score. The 1994 “Hoop Dreams” achieved an Oscar oddity: It was nominated for editing (Frederick Marx, Steve James, William Haugse), but somehow was NOT nominated for documentary. Its omission caused an uproar, but that’s another story.

The point is that documentaries don’t just happen. A lot of talented people work hard in below-the-line categories — cinematography, editing, sound, music, etc. — to make the experience seem seamless.

Tracy Edwards, the remarkable British woman who’s at the center of Sony Classics’ “Maiden,” sings the praises of the doc’s director Alex Holmes and editor Katie Bryer.

She recently talked with Variety about the filmmakers’ two-year search for footage of the all-woman crew’s 1989 voyage. The trip, part of the around-the-world Whitbread Challenge race, was amazing. But so was the filmmaking process.

When Holmes approached her in 2015, Edwards told him that footage exists, but “I have no idea where it is.” Edwards also told him that at each stopover of the race, “We handed over all the footage to the organizers, and they gave it to news channels. So it spread to four corners of the Earth.”

It took Holmes two years to track it down. Edwards adds, “I had no idea that the editor was such a key part of the film process. Meeting Katie Bryer, and hearing her talk about cutting it, I was bowled over. Katie explained about finding different footage of the same interview to find the  best version.”

Edwards also praises the score of Rob Manning and  Samuel Sim. “That scene of the sunrise, when the music comes in, it’s exactly how we felt. I don’t know how they did that.”

CNN Films senior VP Courtney Sexton salutes the great documentaries being made. “Twenty years ago, people were shooting on film, which was expensive; now it’s a more democratic process, with access to equipment that people can afford.”

She praises “Apollo 11” director-editor Todd Douglas Miller. “Watching Todd was a masterclass in making a film — seeing his creative choices of finding the footage, finding audio and pairing it with the visual footage, as well as the editing. I hope people understand that a documentary doesn’t come out of thin air, it’s made and crafted.”

Since 1941, Oscar’s doc nominees have chronicled the history of the world, either by addressing current events (“Woodstock,” 1970; “The Times of Harvey Milk,” 1984, et al.) or by looking at the current world through the prism of the past. Both “Maiden” and “Apollo 11” fit into that category, following such 21st century predecessors as “Scottsboro: An American Tragedy” (2000), “The Fog of War” (2003), “Man on Wire” (2008) and “Searching for Sugar Man” (2012).

So far, docs have earned some Oscar noms in the editing and music categories.

Next goals: directing, writing, cinematography, sound — and best picture.

Popular on Variety

More Artisans

  • His Dark Materials HBO

    'His Dark Materials' Costumers Make Scrubs for U.K. Medics Fighting Coronavirus

    Costumers behind the Bad Wolf-produced HBO and BBC fantasy series “His Dark Materials” have united to make scrubs for medical staff fighting the coronavirus pandemic in the U.K. The initiative, titled “Helping Dress Medics,” brings together a number of staff in the series’ costume department in Cardiff, Wales, and around the U.K. to stitch garments [...]

  • How 'Inception' VFX Supervisor May Leung

    Why 'Inception' Visual Effects Supervisor May Leung Is a Rare Gem

    For some unfortunate reasons, May Leung is an anomaly in the world of visual effects supervision. While there are plenty of women in the world of VFX at large, Leung is part of the only 5% of them who make it to the top role of supervisor. Her work has been featured in 38 films, including [...]

  • The Pennybox LTC Sandra Pennington

    How DIY Gear Is Helping Camera Crews Get the Job Done and Changing the Industry

    Cinematographers and their camera crews often tweak equipment to fit their needs. Sometimes it results in Garrett Brown inventing, designing and building the Oscar-winning Steadicam, or Nic Sadler developing the Artemis Director’s Viewfinder, which earned him an Engineering Emmy. But DPs and camera assistants regularly create tools and accessories to help them and their colleagues become [...]

  • Charm City Kings Movie

    How 'Charm City Kings' Cinematographer Throttled Up the Realism

    Puerto Rican director Ángel Manuel Soto stuck with his decision to bring on cinematographer Katelin Arizmendi for Sony’s “Charm City Kings” despite the studio’s desire for someone with more experience. Though Arizmendi’s credits included just a pair of indie features, Soto knew that her use of naturalistic light with touches of heightened realism were ideal [...]

  • Crip Camp

    How 'Crip Camp' Allowed Co-Director Jim LeBrecht Tell His Story of Representation

    The new Netflix documentary “Crip Camp” centers on Camp Jened, a summer camp for those with disabilities. As told in the doc, it would go on to spark something of a revolution in the disability rights movement. Filmmakers Nicole Newnham and Jim LeBrecht (who had worked with Newnham as a sound designer on her projects) [...]

  • Self Made Netflix

    How Netflix's 'Self Made' Tells First Female Millionaire's Tale With Eclectic Soundtrack

    Netflix’s “Self Made: Inspired by the Life of Madam C.J. Walker,” the story of America’s first self-made female millionaire, takes place between 1908 and 1918. But the music, instead of focusing on the early jazz that might be expected, runs the gamut from ragtime to hip-hop. “Madam C.J. Walker is a central, seminal historical figure [...]

More From Our Brands

Access exclusive content