Documentaries Follow the Money
Raising the financing for nonfiction films like this year's Oscar hopefuls is as much of an art as making the movies themselves.
For a few years during the making of We Were Here, the living room of David Weissman's one-bedroom apartment in San Francisco served as a production office, while Bill Weber worked an editing system from his basement. Such are the challenges of documentary filmmaking: Each of the 15 docs that made this year's Oscar short list were produced on a wing and prayer; the quest for funds usually stretched for years.
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