Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.
david Dufresne onf/nfb
Fort McMoney & the art of co-production
An interview with
David Dufresne
award-winning independent writer and filmmaker
Creator / director Fort mcmoney
David Dufresne is an award-winning independent writer and
filmmaker. He has recently joined the MIT as a Fellow at the Open...
“Fort McMoney is a game documentary that engages players with
the oil industry, Fort McMoney is the virtual representation...
Best Interactive Documentary Gémeaux (Canada)
Special Mention JuryVisa d’Or RFI-France 24 (France)
Knowledge & Education C...
Nearly 375,000 players from 201 regions in the world
Nearly 6500 ‘arguments’ shared by players
2 years of research
60 days...
S.O. : Fort McMoney is a major co-production - did the partners co-develop
and work jointly on the project? what was the r...
S.O. : did the partners need to meet physically?
was communicating via online meetings enough?2DD. : Meeting face to face ...
S.O. : as you’ve had the opportunity to work with Arte more than once, what
kind of best practice strategies have you lear...
cont. :
3DD. : A number of editors chose one or two journalists to become avid
Fort McMoney players. Their job was to prov...
S.O. : When you create a project for different national or linguistic groups,
did you have to think about how to make the ...
S.O. : One of the most exciting and innovative aspects of Fort McMoney was
the live interaction with global players in thr...
S.O. : Did the three player communities have much contact? can you describe
how that was designed??5
DD. : I had a set tim...
S.O. : What insights have you gained from Fort McMoney that you are taking
forward in Off/Side, your new interactive docum...
S.O. : do you see the possibility of using the technology/platform you’ve built
for Fort McMoney again? are you?
s?
7DD. :...
S.O. : There is a co-production treaty (or mini-treaties) between Canada and
France. Do you have any advice for Canadian o...
S.O. : cont.
8
DD. : In simple terms, I’d say Canadians focus on the “how” while the
French focus on the “why.” That’s why...
S.O. : does the treaty help or hinder getting a co-production off the ground?
There are obviously so many factors to consi...
10DD. : The total budget for the Fort McMoney project is $872,000. Of that,
the NFB’s participation was $270,000 — about (...
11DD. : 

1. Remember that international co-productions generate additional
costs.

2. Ensure everyone is headed in the sa...
12DD. : Clearly define each player’s role. Not everyone can give their
feedback at every step of the project. Establish tru...
13DD. : I’d like for treaties to help more than just production teams. We also
need to help authors (through training semi...
The david dufresne Fort mcmoney
coproduction interview is released under a
NonCommercial ShareAlike Creative Commons
licen...
TMC Resource Kit
info@tmcresourcekit.com

tmcresourcekit.com
the david dufresne Fort mcmoney
coproduction interview
was pr...
Tmcrkpartners
THANKS to...
TMC David Dufresne Fort McMoney Coproduction Interview Eng Version
TMC David Dufresne Fort McMoney Coproduction Interview Eng Version
TMC David Dufresne Fort McMoney Coproduction Interview Eng Version
TMC David Dufresne Fort McMoney Coproduction Interview Eng Version
TMC David Dufresne Fort McMoney Coproduction Interview Eng Version
TMC David Dufresne Fort McMoney Coproduction Interview Eng Version
TMC David Dufresne Fort McMoney Coproduction Interview Eng Version
TMC David Dufresne Fort McMoney Coproduction Interview Eng Version
TMC David Dufresne Fort McMoney Coproduction Interview Eng Version
TMC David Dufresne Fort McMoney Coproduction Interview Eng Version
Upcoming SlideShare
Loading in …5
×

TMC David Dufresne Fort McMoney Coproduction Interview Eng Version

4,953 views

Published on

An interview with David Dufresne, creator and director of Fort McMoney ONF/NFB

Published in: Design
  • DOWNLOAD FULL BOOKS INTO AVAILABLE FORMAT ......................................................................................................................... ......................................................................................................................... 1.DOWNLOAD FULL PDF EBOOK here { https://tinyurl.com/y8nn3gmc } ......................................................................................................................... 1.DOWNLOAD FULL EPUB Ebook here { https://tinyurl.com/y8nn3gmc } ......................................................................................................................... 1.DOWNLOAD FULL doc Ebook here { https://tinyurl.com/y8nn3gmc } ......................................................................................................................... 1.DOWNLOAD FULL PDF EBOOK here { https://tinyurl.com/y8nn3gmc } ......................................................................................................................... 1.DOWNLOAD FULL EPUB Ebook here { https://tinyurl.com/y8nn3gmc } ......................................................................................................................... 1.DOWNLOAD FULL doc Ebook here { https://tinyurl.com/y8nn3gmc } ......................................................................................................................... ......................................................................................................................... ......................................................................................................................... .............. Browse by Genre Available eBooks ......................................................................................................................... Art, Biography, Business, Chick Lit, Children's, Christian, Classics, Comics, Contemporary, Cookbooks, Crime, Ebooks, Fantasy, Fiction, Graphic Novels, Historical Fiction, History, Horror, Humor And Comedy, Manga, Memoir, Music, Mystery, Non Fiction, Paranormal, Philosophy, Poetry, Psychology, Religion, Romance, Science, Science Fiction, Self Help, Suspense, Spirituality, Sports, Thriller, Travel, Young Adult,
       Reply 
    Are you sure you want to  Yes  No
    Your message goes here

TMC David Dufresne Fort McMoney Coproduction Interview Eng Version

  1. 1. david Dufresne onf/nfb Fort McMoney & the art of co-production
  2. 2. An interview with David Dufresne award-winning independent writer and filmmaker Creator / director Fort mcmoney
  3. 3. David Dufresne is an award-winning independent writer and filmmaker. He has recently joined the MIT as a Fellow at the Open Documentary Lab, Comparative Media Studies/Writing. Fort McMoney is his new film, an interactive game documentary, produced by ONF/Arte and Toxa and acclaimed by the NY Times as the "wedding of the film and the video game". In 2010, he authored and co-directed PrisonValley, a web documentary, with Philippe Brault (Upian/Arte), which won a host of international awards. David Dufresne was a long-time reporter for Libération and managing editor of iTélé, France’s 24-hour newscast. He has also published a dozen investigation books. He was also one of the first Internet players in France (he published the first webzine, La Rafale, in 1995).Today, David lives in Montreal. Website: http://www.davduf.net who is David Dufresne?
  4. 4. “Fort McMoney is a game documentary that engages players with the oil industry, Fort McMoney is the virtual representation of a real place, the town of Fort McMurray, located in Canada’s oil sands.” Website: http://www.davduf.net
  5. 5. Best Interactive Documentary Gémeaux (Canada) Special Mention JuryVisa d’Or RFI-France 24 (France) Knowledge & Education Category Grimme OnLine Award (Allemagne) Best Interactive Documentary Festival International du Film de l’environnement (Paris) Grand Prix Boomerangs Interactive Documentary (Canada) Site of the day FWA / Favourite Website Awards Finalist at the SXSW festival 2014 Website: http://www.davduf.net awards
  6. 6. Nearly 375,000 players from 201 regions in the world Nearly 6500 ‘arguments’ shared by players 2 years of research 60 days of filming 8 hours of available content Website: http://www.toxa.com/realisations/fort-mcmoney/ Fort McMoney: the numbers
  7. 7. S.O. : Fort McMoney is a major co-production - did the partners co-develop and work jointly on the project? what was the role of the co-production partners?? 1 DD. : Producers play a pivotal role in i-Doc creation, taking care of a lot more than just the financials. They’re involved in everything that has to do with the production side of things, like development, coding and visuals. If you think, as I do, that the interface makes the story, then certain producers are actually co-authors. But above all things, Upian and Toxa are well-established web agencies with unparalleled expertise and strong skill sets.
  8. 8. S.O. : did the partners need to meet physically? was communicating via online meetings enough?2DD. : Meeting face to face is a must! It’s still the best way to work with someone. Seeing your work partners at regular intervals, even occasionally, helps everyone move forward at a faster pace and resolve issues quickly. I find myself doing more and more work using the two-day workshop format, for example, because it helps us make real progress.
  9. 9. S.O. : as you’ve had the opportunity to work with Arte more than once, what kind of best practice strategies have you learned for working with international co-partners? Did you need to meet physically? was communicating via online meetings enough? 3 DD. : Being a Franco-German network, Arte is international through and through. And that’s great, because the digital revolution is too, allowing for worldwide broadcasting without borders. It’s changing habits everywhere. We used this idea when developing Fort McMoney. The discussions we had with our media partners in Germany, Canada and France started a whole year before the project went live. We wanted to go beyond simple traditional exchanges, focusing on content instead of visibility. The idea was to get Le Monde, The Globe & Mail, Radio Canada and Sueddeutsche.de really involved in the process and not just count on their large audiences.
  10. 10. cont. : 3DD. : A number of editors chose one or two journalists to become avid Fort McMoney players. Their job was to provide us with insight, expert advice and/or analyses. The goal was to stimulate the audience, a key element in making any game successful. Concurrently, some of our partners talked about the game in their media and published in-depth investigations on the oil industry, which gave us content for the game in real time.
  11. 11. S.O. : When you create a project for different national or linguistic groups, did you have to think about how to make the content relevant for each audience? Did that impact Prison Valley or Fort McMoney at all? Both really address documentary subjects that have global relevance. 4 DD. : It wasn’t really an issue in either case. Although our forums/debates for Prison Valley were somewhat “localised” since the prison issue isn’t dealt with in the same way everywhere. For Fort McMoney, we had three game masters (one for English, one for French and one for German) to ensure that we answered user questions as best as possible. But there are lots of significant differences on the promotional side of things. People from different parts of the world don’t necessarily look at innovation the same way, just like they don’t see eye-to-eye on a variety of issues.
  12. 12. S.O. : One of the most exciting and innovative aspects of Fort McMoney was the live interaction with global players in three languages, French, English and German. How did you structure the community manager role? was there one person? or more than one? 5 DD. : Because we were almost always connected, the three game masters (GMs) were able to moderate debates and advise players at all times. We released information as time went on and analysed Fort McMoney’s progress. Philip Lewis was the GM for English-speaking players, Frédéric Dubois, for German-speaking players and I was the GM for French-speaking players. Apparently, a lot of hard-core gamers really enjoyed the game’s “live” aspect. It obviously took a lot of time, energy, and, therefore, money to make it happen day after day, but I think it’s one of the main reasons we got such a huge response. What we’re most proud of is how involved players got in the debates, often using high-level arguments. We got over 6500 posts in two months! Our goal was to create a debate around a topic many people considered closed.
  13. 13. S.O. : Did the three player communities have much contact? can you describe how that was designed??5 DD. : I had a set timetable for the first two months of play (when the GMs were involved) that listed what GMs had to publish by what date, what analyses had to be done, and so on. But the timetable was flexible so we could make changes as the game evolved and world events unfolded. We had an email “meeting” every morning to update each other on what was happening in each of the game’s “countries.”.
  14. 14. S.O. : What insights have you gained from Fort McMoney that you are taking forward in Off/Side, your new interactive documentary on sports business? 6DD. : The web’s real-time immediacy offers amazing narrative options compared to commentary, which takes more time. And creating an involved community is possible as long as you put in the time necessary (which is a lot!) to help it thrive.
  15. 15. S.O. : do you see the possibility of using the technology/platform you’ve built for Fort McMoney again? are you? s? 7DD. : We could replicate the Fort McMoney format in other cities around the world, but I’d rather find new ways of telling a story than duplicating what’s already been done. In my opinion, the industry’s recent shift towards interactivity amounts to research and development in documentary filmmaking. It’s like we’re working in a lab that’s open to everyone. But everything that comes out of this lab isn’t necessarily relevant, because everything shouldn’t be interactive. Form should always serve the subject. One thing’s for certain, there’s a strong wind blowing, which means there’s a big storm brewing. And the entire industry is already reaping the benefits. The public sector (NFB, Radio-Canada, CMF, Arte, France Télévisions and CNC) has played a key role in supporting these changes. Now it’s time for the private sector to do its part.
  16. 16. S.O. : There is a co-production treaty (or mini-treaties) between Canada and France. Do you have any advice for Canadian or French documentary makers or interactive digital producers on how to approach an international co-production in terms of financial arrangements? Are there any tips or common pitfalls you can discuss?? s? 8 DD. : I know a lot of French filmmakers dream of working with Canadians. After all, Montreal is considered the Mecca of interactive technology. NFB and CMF productions are studied closely in Paris, and vice versa. But we can’t forget the distance issue. We need to see each other, meet up and travel to work together successfully. Skyping and emailing aren’t enough. And I sincerely believe the significant cultural differences between us can lead to great things as long as we take the time to understand and overcome them.
  17. 17. S.O. : cont. 8 DD. : In simple terms, I’d say Canadians focus on the “how” while the French focus on the “why.” That’s why I consider Fort McMoney to be the result of a combination of skills, but also of cultures and approaches. Toxa and the NFB were the North American influence while my accomplice, cameraman Philippe Brault, and the Arte team brought a more European flavour to the project. The way things are today kind of reminds me of working in France in 1994-1995 when we read Quebec webzines and a friendship was emerging between us as we had just started building the French- language web.
  18. 18. S.O. : does the treaty help or hinder getting a co-production off the ground? There are obviously so many factors to consider!9DD. : I can’t really answer that. It’s more of a question for producers. I think we need to go even further by increasing the number of bi-national workshops, meetings and festivals, like the Emergence Lab organized by the Institut français and the CMF in Banff last year.
  19. 19. 10DD. : The total budget for the Fort McMoney project is $872,000. Of that, the NFB’s participation was $270,000 — about (30%) of the total budget. TOXA, the project initiator and major producer had access to funding programs devoted to interactive works via the experimental component of the Canada Media Fund. It was also made possible thanks to the participation of ARTE, another partner in the project via a license. From what I know, FortMcMoney.com is a web documentary with production costs in the midrange of documentary productions in Canada, and more specifically at the NFB. The money made it possible to finance a content-rich documentary game that, like traditional documentaries, required several production stages, including development (4000 hours), research, investigations, shoots in various locations (60 days), editing (7 months), travel, etc.… SO: for the financing of Fort McMoney - what percentage did each partner contribute? were there any roadblocks that made it difficult to work with international partners?
  20. 20. 11DD. : 1. Remember that international co-productions generate additional costs. 2. Ensure everyone is headed in the same direction, meaning they all agree on goals and deadlines for every step of the project. 3. Think about the work to be done by each party at all times, from project development to post-launch marketing efforts. SO: What are the top three things a producer should be aware of when thinking about an international co-production?
  21. 21. 12DD. : Clearly define each player’s role. Not everyone can give their feedback at every step of the project. Establish trust early on. SO: What is the best advice you can give a producer for thinking about international co-productions?
  22. 22. 13DD. : I’d like for treaties to help more than just production teams. We also need to help authors (through training seminars and bursaries) and facilitate meetings (through workshops and festivals). SO: From your knowledge of international co-productions and existing co-production treaties are there some existing international partnership arrangements that seem to work really well??
  23. 23. The david dufresne Fort mcmoney coproduction interview is released under a NonCommercial ShareAlike Creative Commons license to be shared, remixed and expanded non-‐ commercially, as long as you credit the TMC Resource Kit, the creator of the Case Study, Anthea Foyer and/ or Dr. Siobhan O’Flynn, and license your new creations under the identical terms. Images from third parties retain original copyright.
  24. 24. TMC Resource Kit info@tmcresourcekit.com tmcresourcekit.com the david dufresne Fort mcmoney coproduction interview was prepared by: Dr. Siobhan O’Flynn contactus Get in Touch
  25. 25. Tmcrkpartners THANKS to...

×