THE STATE OF THE DOCUMENTARY FIELD
2020 STUDY OF DOCUMENTARY PROFESSIONALS: COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS
By Caty Borum Chattoo and William Harder JULY 2021 About The Center For Media & Social Impact
The Center for Media & Social Impact (CMSI), based at American University’s School of Communication in Washington, D.C., is a creative innovation lab and research center that creates, studies, and showcases media for social justice and social change. Focusing on independent, documentary, entertainment, and public media, CMSI bridges boundaries between scholars, producers, and communication practitioners who work across media production, public policy, social justice, and audience engagement. The Center produces resources for the field and research, convenes conferences and events, and works collaboratively to understand and design storytelling that matters.
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About the International Documentary Assocation
The International Documentary Association (IDA) supports the vital work of documentary storytellers and champions a thriving and inclusive documentary culture. IDA provides production funding and fiscal sponsorship to filmmakers, advocates for the rights of documentary makers around the world, publishes Documentary magazine, and produces year-round programming including Getting Real, the largest professional conference in the U.S. for documentary makers.
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Citation: Borum Chattoo, C., & Harder, B. (2021). The State of the Documentary Field: 2020 Study of Documentary Professionals, Complete Data for Global and U.S. Respondents. Center for Media & Social Impact, American University School of Communication, in association with the International Documentary Association. TABLE OF CONTENTS
4 About the Study. 4 The Documentary Field in 2020: Opportunity and Challenge 5 Study Overview and Objectives 7 Study Format: Documentary Professionals and Documentary Makers 7 How to Understand the Findings and Demographic Group Analysis
9 Part 1: State of the Global Documentary Field (International Data) 10 Demographics of Global Documentary Professionals in this Study 23 Global Documentary Professionals: Experiences, Opportunities, and Challenges 44 Global Documentary Makers’ Experience and Motivations (Directors and Producers) 52 The Global Business and Distribution of Documentary (Directors and Producers) 64 The Global Economics of Documentary Filmmaking (Directors and Producers)
75 Part 2: U.S. State of the Documentary Field (U.S. Data) 77 Demographics of U.S. Documentary Professionals in this Study 91 U.S. Documentary Professionals: Experiences, Opportunities, and Challenges 111 U.S. Documentary Makers’ Experience and Motivations (Directors and Producers) 119 The Business and Distribution of Documentary in the U.S. (Directors and Producers) 132 The Economics of Documentary Filmmaking in the U.S. (Directors and Producers) ABOUT THE STUDY The Documentary Field in 2020: Opportunity and Challenge
Platforms are shifting, new storytellers are emerging, and media systems are transforming in the continued revolutionary digital media era. Documentary has long enjoyed a vibrant space in the global media ecology, and the marketplace for creative nonfiction storytelling continues to expand around the world. The digital age of documentary reveals both new opportunities and challenges for nonfiction storytellers and organizations – that is, the era of YouTube, social media, streaming networks, and accessible filmmaking equipment. Audiences are finding nonfiction stories in new ways, organizations have emerged at the intersection of documentary and public engagement, and a global community of documentary makers continues to grow. Despite an expansive landscape for documentary filmmakers and audiences, particular challenges are persistent. Questions about sustainable systems and sources of revenue that can support career-making documentary work are perennial. The struggle for diverse representation among documentary storytellers requires constant scrutiny and explicit effort. As viewers continue to discover documentary storytelling across various platforms, and as new filmmakers enter the craft, tracking industry professionals’ perspectives and lived experiences is a vital pursuit. This study stems from these ideas and imperatives.
The State of the Documentary Field study and initiative was shaped, facilitated, analyzed and written by Caty Borum Chattoo and Bill Harder for the Center for Media & Social Impact, in collaboration with Simon Kilmurry, then-executive director of the International Documentary Association (IDA), and Maggie Bowman, IDA programs director. CMSI operations director Varsha Ramani served as communication director and publication editor. Olivia Klaus created the report design. The 2020 State of the Documentary Field initiative is supported in part by a grant from the National Endowment for the Arts’ Media Arts program.
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 4 Origin Story: The State of the Documentary Field Initiative
In 2016, in collaboration with the International Documentary STUDY Association, the Center for Media & Social Impact identified a need to understand documentary trends, as well as the motivations, concerns, and perspectives of documentary OVERVIEW & industry professionals and makers at a moment of transition and opportunity. Sparked by this need and curiosity, we launched a pilot phase of this research in 2016, which was released at the 2016 IDA Getting Real convening1. A 2018 version, OBJECTIVES which focused on U.S.-based documentary professionals, launched at the 2018 IDA Getting Real convening.2
The 2020 State of the Documentary Field Initiative: Global and U.S.
The 2020 State of the Documentary Field study expands to include a broader snapshot of documentary professionals around the world. This is the first research to reveal trends and experiences of contemporary documentary professionals based in the United States and, in 2020, around the world.3
We note that while this year’s report is an international study for the first time, we do present U.S. data as a stand-alone full report, with global findings separately, given study’s origin, execution and funding in the United States. Please also see this report: 2020 Study of U.S. Documentary Professionals: 15 Key Findings, available at cmsimpact.org
Crafted by CMSI with feedback from the International Documentary Association, the study was informed by insights and questions derived from documentary professionals. The survey included 42 content questions (a total of 102 content questions including complex response options) and a battery of 16 demographic questions (age, race, ethnicity, sexual orientation, education, country of residence, care- taking responsibilities, and membership in documentary- related organizations). The study was designed to understand documentary industry members’ perspectives and lived experiences based on four key themes:
>> Documentary Motivations, Opportunities & Challenges >> Documentary Career Sustainability, Economics & Funding >> Documentary Diversity & Representation >> Documentary Distribution & Platforms CMSI collected survey responses between August and November 2020, notably during the first year of the historic COVID-19 pandemic; we delayed the original data collection period (initially planned for March 2020) due to the start of the pandemic shutdown. Respondents’ participation was voluntary, and personally-identifiable information was not collected. The survey was anonymous and confidential, and internet protocol information was not collected through the online survey platform. No financial incentives were offered or given. American University’s Institutional Review Board (IRB) reviewed and approved the research protocol, and the authors—trained university researchers required to indicate regular research ethics training certification (CITI)—captured and analyzed the data. The survey was hosted online on American University’s Qualtrics platform.
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 5 To assure robust participation from documentary film professionals, the International Documentary Association, a global focal organization across the business of documentary, promoted the survey on its website and social media channels. CMSI promoted the survey through its monthly e-newsletter. Additionally, IDA and CMSI identified and invited additional documentary groups and communities to participate in outreach; these groups notified their members and strongly encouraged participation in the survey through email lists and social media promotion. Note that the survey was made available to all documentary professionals around the world who wished to participate; specific recruitment mentioned above, and listed below, indicates the team’s attempt to call attention to the survey and attract a broad and diverse range of respondents. The full list of participating outreach organizations includes: U.S.-based organizations: >> 4th World Media Lab >> Latino Public Broadcasting >> Academy of Motion Picture Arts & Sciences >> National Association of Latino Independent >> A-Doc (Asian American Documentary Network) Producers (NALIP) >> Allied Media Project >> New Day Films >> American Documentary, Inc. (POV) >> New Orleans Film Society >> Association of Independents in Radio (AIR) >> New York Women in Film and Television >> Bay Area Video Coalition (BAVC) >> Nia Tero >> Black Public Media >> Pacific Islanders in Communication >> Brown Girls Doc Mafia >> Producers Guild of America >> Center for Asian American Media (CAAM) >> Programmers of Colour Collective >> Collective of Documentary Women >> Queer Producers Network Cinematographers >> Southern Documentary Fund >> Cousin Collective >> Sundance Institute Documentary Film Program >> Directors Guild of America >> The Alliance for Media Arts & Culture >> Distribution Advocates >> The D-Word >> Doc Society >> The Film Collaborative >> Docs in Progress >> Undocumented Filmmakers Collective >> Documentary Producers Alliance >> University Film & Video Association >> Film Independent >> Vision Maker Media >> Firelight Media >> Women Make Movies >> FWD-Doc (Filmmakers with Disabilities) >> Working Films >> Independent Television Service (ITVS) >> Writers Guild of America >> International Documentary Association >> Youth FX - NeXt Doc Fellowship >> Kartemquin Films
Global Organizations:
North America >> BSB Association of >> Doc Sao Paolo >> Asian Cine Vision Documentary Filmmakers In >> Chile Doc >> Documentary Organization Turkey >> Ta turana of Canada >> Doc Montevideo >> Documental Ambulante Asia and Southeast Asia >> FIGC >> DocsMX, International >> Indian Documentary Documentary Film Platform Foundation United Kingdom of Mexico City >> DocedgeKolkata, Asian >> Doc Society Forum for Documentary >> Scottish Documentary Africa >> Documentary Resource Institute >> Docubox, the East African Initiative (India) >> The Wake Up Foundation Documentary Film Fund >> To kyo Docs >> Think-Film >> Documentary Filmmakers >> DMZ Docs >> Wh ickers Fund Association, South Africa >> Documentary Association of >> Sheffield Doc Fest >> DOC-A, Documentary Africa Pakistan >> Doc Society >> STEPS >> Su nshine Cinema Asia Pacific and Australia Europe >> Documentary NZ Trust >> Wh y Foundation Middle East and North Africa >> Documentary Australia >> IDFA >> Arab Fund for Arts and Foundation >> European Documentary Culture >> Media Stockade Network >> Beirut DC Cultural >> In-Docs >> Documentary Association Association >> Engage Media of Europe >> Close-Up >> AIDC >> Polish Docs >> Co-Pro Israel >> Doc Edge >> DokSerbia >> Dox Box >> LAScam France >> Israeli Documentary South America >> Film and Tell Filmmakers Forum >> Clacpi >> Balkan Documentary Center
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 6 Documentary Professionals and Documentary Makers
These survey findings are based on the perspectives of approximately 932 documentary industry professionals.4 The survey was designed to assess two groups of documentary STUDY professionals and makers:
The sections with “Documentary Professionals” in the FORMAT title reveal the major findings of the survey based on all respondents. Based on a filter question that asked respondents to indicate their “primary position” in documentary, this section of questions offered opportunities for all self-described members of the documentary profession to respond; this group of respondents included those who identified their primary role as directors, producers, editors, directors of photography, as well as non-profit professionals, impact producers or strategists, film festival professionals, broadcasters, professors, and funders.
The sections labeled “Documentary Makers” include responses to additional economics questions asked of those professionals who identified themselves primarily as “directors” or “producers,” given that these roles allow a full understanding of the key creative, business decision-making, and full economics of their individual films. (Note that this study does not make the claim, of course, that roles like editor, cinematographer and sound mixer are not “makers,” but this designation simply allows the researchers to gather reliable and precise information from the film’s decision-making roles about the full economic realities of their films, which the other roles typically may not have as fully or readily). In this way, we were able to ascertain film economics information and other insights from decision- making documentary filmmakers who have this information to share about their individual films and film experiences. 487 respondents identified themselves as primarily “directors” or “producers.”5
How to Understand the Findings and Demographic Group Analysis
We present each finding here with broad results from all respondents (that is, the response to each question by all documentary professionals and/or makers), as well as the demographic comparisons between these primary self- identified groups: race and ethnicity, and gender identification.6 We spotlight these particular groupings because of the known history of documentary opportunity and power differentials based on race and ethnicity, and on gender identity. Each demographic question was sourced with existing literature and, for some, consultation with organizations and individuals who represent them. Source citations are presented as footnotes for each demographic question.
For each question, we present findings in three levels:
>> All respondents >> Racial and ethnic identification: BIPOC (Black, Indigenous and People of Color) and White7 >> Gender identification: Women and Men8
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 7 1 Borum Chattoo, C. (2016). The State of the Documentary Field: 2016 Study of Documentary Professionals. Center for Media & Social Impact, American University School of Communication, with the International Documentary Association. https://cmsimpact.org 2 Borum Chattoo, C., & Harder, B. (2018). The State of the Documentary Field: 2018 Study of Documentary Professionals. Center for Media & Social Impact, American University School of Communication, with the International Documentary Association. https://cmsimpact.org 3 For this study, 83% of the respondents to this survey came from the United States, and 17% hail from countries around the world. 4 Because some respondents skipped some questions, despite our best efforts to discourage this practice (directed in the survey introduction text), the exact number of people who answered varies from question to question, but not in a way that is systematically meaningful. In total, 923 people completed at least some questions in this survey. 5 About 375 directors and producers reliably answered these “primary makers” questions although 487 identified themselves as “directors and producers.” Again, because each question was not set up as “must respond,” there is some naturally occurring variation in the number of “maker” respondents for each individual question, as expected. 6 In this survey, we asked about and show the proportion of LGBTQ+ documentary professionals here in the demographic representation section. However, in this report we do not present specific breakouts for content questions based on this identity. Finally, in consultation with a leading organization that represents the rights of undocumented persons in the United States, we did not include a question about citizenship status out of an abundance of caution, given the immigration climate in the United States at the time of data-gathering in 2020. 7 The survey allowed respondents to select from a comprehensive list of possible racial and ethnic identifications sourced to existing literature for global identification in these categories; each respondent was able to choose multiple categories. In analysis and reporting, we have collapsed categories into “BIPOC” and “White” to reveal broader patterns around equity in documentary work. In this report, when reporting for “BIPOC,” this includes individuals who indicated at least one of the following identifications: Black or African-American or African; Indigenous or First Nations or American Indian or Alaska Native; Arab or Middle Eastern or North African; Asian or Asian American; Hispanic or Latinx/Latina/Latino; Native Hawaiian or Pacific Islander. When reporting for “White,” this includes those people who identified only in this category; any respondent who selected another category in addition to “White” was categorized in the “BIPOC” category given that this study seeks to understand experience differentials between BIPOC and White documentary professionals and makers. If respondents chose to use the open-ended response option (“Some other race, ethnicity, or origin, please specify”), we re-categorized them into the appropriate categories (that is, distinct racial and ethnic identifications and also in aggregate as “BIPOC” or “White”) if the response indicated this information clearly. Responses like “human” or related were left uncategorized. Sources for these questions: Moody, C., Obear, K., Gasser, H., Cheah, S., & Fechter, T. (2013, December 5). ACPA standards for demographic questions. Retrieved from http://www.myacpa.org/sites/default/files/Proposal-DemographicQuestions- and-Responses-2.pdf; Rethinking and Updating Demographic Questions: Guidance to Improve Descriptions of Research Samples. Jennifer L. Hughes, Abigail A. Camden, and Tenzin Yangchen. Psi Chi Journal of Psychological Research (Fall 2016). https://cdn.ymaws.com/sites/www.psichi.org/resource/ resmgr/journal_2016/21_3Fall16JN-Hughes.pdf, 141-142. 8 We included “nonbinary” category in the gender identity questions, and we also included a separate question for transgender identification (reference source: Question source: Human Rights Campaign (2018), LGBTQ-Inclusive Data Collection: A Lifesaving Imperative, https://assets2.hrc.org/files/assets/ resources/HRC-LGBTQ-DataCollection-Report.pdf). Because data for “nonbinary” is too low to report as a specific breakout across measures within this report, this report provides breakdowns of “Women and Men” as gender identity for all major results. This should be interpreted as those respondents who identify as “Women” or “Men” in the survey.
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 8 PART 1 STATE OF THE GLOBAL DOCUMENTARY FIELD
Where Global Documentary Respondents are Located
The highest possible number of respondents for the State of the Global Documentary Field section of this report is 923. The number of responses for each individual question varies based on the number of individuals who answered it. All percentages are based on the total number of respondents for a given question or total respondents for a given group in the case of the demographic breakout groups (race and gender identity). Percentages are rounded up, and thus, some rounding error is inherent in reported numbers.
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 9 GLOBAL RESPONSES
GLOBAL DOCUMENTARY PROFESSIONALS Demographics of Global Documentary Professionals in this Study Map of Respondents Residency
Residency Global Documentary Professionals (All Respondents)
17% International
83% United States
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 10 GLOBAL RESPONSES International Respondents, not including the U.S. Global Breakdown COUNTRY United KingdomandN.Ireland United Arab Emirates Russian Federation New Zealand Mozambique South Korea Bangladesh Philippines Singapore Argentina Myanmar Colombia Germany Sri Lanka Australia Malaysia Armenia Belgium Norway Ukraine Bahrain Canada Austria Mexico Angola Taiwan Bolivia Turkey France Serbia Kenya Nepal China Brazil Israel Spain India Italy Iran COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 3% 3% 3% 3% 3% 3% 4% 5% 7% 7% 8% 12% 13% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 2% 2% 3% •11 GLOBAL RESPONSES
Global Documentary Respondents: Demographics
Age of Global Documentary Professionals Global Documentary Professionals (All Respondents)
1% 18 to 24 11% 65+ 18% 25 to 34
33% 50 to 64
38% 35 to 49
Gender Identity of Global Documentary Professionals9 Global Documentary Professionals (All Respondents)
1% Prefer to self-describe
1% Nonbinary
36% Men
62% Women
9 Question source: Human Rights Campaign (2018), LGBTQ-Inclusive Data Collection: A Lifesaving Imperative, https://assets2.hrc.org/files/ assets/resources/HRC-LGBTQ-DataCollection-Report.pdf
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 12 GLOBAL RESPONSES
LGBTQ+ Orientation of Global Documentary Professionals10 Global Documentary Professionals (All Respondents)
4% Prefer not to say
16% Yes
80% No
Transgender Identity of Global Documentary Professionals11 Global Documentary Professionals (All Respondents)
1% Yes 2% Prefer not to say
98% No
10 Question source: Human Rights Campaign (2018), LGBTQ-Inclusive Data Collection: A Lifesaving Imperative, https://assets2.hrc.org/files/ assets/resources/HRC-LGBTQ-DataCollection-Report.pdf 11 Question source: Human Rights Campaign (2018), LGBTQ-Inclusive Data Collection: A Lifesaving Imperative, https://assets2.hrc.org/files/ assets/resources/HRC-LGBTQ-DataCollection-Report.pdf
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 13 GLOBAL RESPONSES
Race and Ethnic Identification of Global Documentary Professionals12 Global Documentary Professionals (All Respondents)
White or Caucasian or European American 71%
Asian or Asian American 13%
Hispanic or Latinx/Latina/Latino 9%
Black or African American or African 6%
Some other race, ethnicity, or origin, please specify 5% RACE
Arab or Middle Eastern or North African 4%
Prefer not to answer 2%
Indigenous or First Nations or American Indian or Alaska Native 1%
Native Hawaiian or Pacific Islander 1%
BIPOC and White: All Global Documentary Respondents Global Documentary Professionals (All Respondents)
32% BIPOC
68% White
12 Question sources: Moody, C., Obear, K., Gasser, H., Cheah, S., & Fechter, T. (2013, December 5). ACPA standards for demographic questions, http://www.myacpa.org/sites/default/files/Proposal-DemographicQuestions-and-Responses-2.pdf; Rethinking and Updating Demographic Questions: Guidance to Improve Descriptions of Research Samples. Jennifer L. Hughes, Abigail A. Camden, and Tenzin Yangchen. Psi Chi Journal of Psychological Research (Fall 2016), https://cdn.ymaws.com/sites/www.psichi.org/resource/resmgr/ journal_2016/21_3Fall16JN-Hughes.pdf, 141-142.
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 14 GLOBAL RESPONSES
Disability Identification of Global Documentary Respondents13 Global Documentary Professionals (All Respondents)
3% Prefer not to say
5% Yes
93% No
Education of Global Documentary Respondents Global Documentary Professionals (All Respondents)
2% 0% Professional degree (JD, MD) Less than high school degree
18% MFA
46% Bachelor’s degree in college (4-year)
24% Master’s degree
6% 4% High school graduate (high Doctoral degree school diploma or equivalent including GED)
13 To source this question, we consulted with a founder of Filmmakers With Disabilities (FWD-DOC), and we also consulted and utilized these sources: https://cdn.ymaws.com/sites/www.psichi.org/resource/resmgr/journal_2016/21_3Fall16JN-Hughes.pdf; BrckaLorenz, A., Zilvinskis, J., & Haeger, H. (2014, May). Categorizing identities: Race, gender, disability, and sexual orientation. Symposium conducted at the meeting of Association for Institutional Research, Orlando, FL. http://cpr.indiana.edu/uploads/Categorizing%20Identities%20 Handout%20FINAL%202.pdf
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 15 GLOBAL RESPONSES Most Valuable Job Training inDocumentary Most Valuable JobTraining for GlobalDocumentary Professionals 14 Global Documentary Professionals
Question source:Presence,S., Spicer, A.,Quigley, (2020). A.,Green,L. TRAINING https://ukfd.org.uk/policy-reports Related postgraduate education Related undergraduate/college Attended shortcourseor Learned ontheJob Self-taught education workshop Other / (All Respondents)
Keeping It Real: Towards aDocumentary Film Policy for UK. the COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 5% 6% 13% 18% 56% 3% 14
•16 Global Documentary Professionals Most Valuable Job Training inDocumentary GLOBAL RESPONSES Most Valuable Job Training inDocumentary Global Documentary Professionals TRAINING TRAINING Related postgraduate education Related postgraduate education Related undergraduate/ college Related undergraduate/college Attended shortcourseor Attended shortcourseor Learned onthejob Learned onthejob Self-taught Self-taught education workshop education workshop Other Other (Gender Identity) (BIPOC and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 25% 14% 4% 3% 7% 4% 12% 13% 47% 61% 5% 4% 18% 19% 3% 3% 6% 5% 12% 15% 58% 52% 4% 7% Men Women White BIPOC •17 GLOBAL RESPONSES Global Documentary Professionals toAdults Caregivers Global Documentary Professionals Caregivers to Adult Global Documentary Professionals Caregivers to Adult 15 Caregiving Responsibilities for GlobalDocumentary Professionals
https://www.caregiving.org/wp-content/uploads/2020/05/04questionnaire.pdf Question sourceforboth“caregiver toadult”and“caregiver tochild18orunder”: CAREGIVER TO ADULT CAREGIVER TO ADULT CAREGIVER TO ADULT Prefer nottosay Prefer nottosay Prefer notosay Yes Yes No No Yes No (Gender Identity) and White)(BIPOC (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS Caregiving.org/Princeton Survey Research Associates. 5% 1% 26% 32% 70% 67% 3% 30% 67% 4% 0% 28% 37% 69% 63% 15 Men Women White BIPOC •18 GLOBAL RESPONSES Global Documentary Professionals Caregivers to Children Under 18 Global Documentary Professionals Caregivers to Children Under 18 Global Documentary Professionals Caregivers to Children Under 18 CAREGIVER TO CHILD CAREGIVER TO CHILD CAREGIVER TO CHILD Prefer nottosay Prefer nottosay Prefer notosay Yes Yes No No Yes No (Gender Identity) and White)(BIPOC (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 4% 1% 27% 28% 70% 73% 2% 27% 71% 33% 73% 66% 2% 1% 25% Men Women White BIPOC •19 GLOBAL RESPONSES
Household Wage Earner Support for Global Documentary16
Household Wage Earner Support16 Global Documentary Professionals (All Respondents)
No 52%
Yes 46%
Prefer not to say
HOUSEHOLD WAGE 2%
Household Wage Earner Support Global Documentary Professionals (BIPOC and White)
56% BIPOC No 49% White
43% Yes 48%
1% Prefer not to say HOUSEHOLD WAGE 3%
Household Wage Earner Support Global Documentary Professionals (Gender Identity)
51% Women No 52% Men
48% Yes 46%
2% Prefer not to say HOUSEHOLD WAGE 2%
16 Question source: World Health Organization, https://www.who.int/disabilities/data/model-disability-survey.pdf?ua=1
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 20 Years Working inDocumentary: GlobalDocumentary Professionals GLOBAL RESPONSES Years Working inDocumentary Global Documentary Professionals YEARS IN DOC More than20years 15 -20years 10 -14years 5 -9years 0 -4years (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 25% 20% 19% 22% 15% •21 Primary Positions inthe Documentary Field GLOBAL RESPONSES Global Documentary Professionals Primary Positions inthe Documentary Field PRIMARY INCOME SOURCE Impact Strategist/Producer Employee ofFilm-Related Film Festival Professional Membership Services Production Assistant Archival Researcher Cinematographer Audio Technician Organization Professional Broadcaster Distributor Composer Professor Producer Director Funder Writer Editor Other (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 3% 3% 3% 10% 29% 39% 2% 2% 2% 0% 0% 0% 1% 1% 1% 1% 1% 2% •22 and Challenges Experiences, Opportunities, GLOBAL DOCUMENTARY MAKERS GLOBAL RESPONSES Global Documentary Professionals Primary Source of Income Primary Source ofIncome PRIMARY INCOME SOURCE For-Profit Organization/Company Educator (ProfessororTeacher) Advertising (Commercials or Unscripted orRealityTV Non-Profit Organization Non-Profit Organization Documentary Film/TV (NotFilm-Related) (Not Film-Related) Branded Content) Scripted Film/TV (Film- Related) Other
(All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
45% 8% 2% 2% 14% 4% 12% 3% 11% •23 GLOBAL RESPONSES Global Documentary Professionals Primary Source of Income Global Documentary Professionals Primary Source of Income PRIMARY INCOME SOURCE PRIMARY INCOME SOURCE For-Profit Organization/Company Educator (ProfessororTeacher) Educator (ProfessororTeacher) Advertising (Commercials or Advertising (Commercials or Unscripted orRealityTV Unscripted orRealityTV Non-Profit Organization Non-Profit Organization Non-Profit Organization Non-Profit Organization For-Profit Organization Documentary Film/TV Documentary Film/TV (NotFilm-Related) (Not Film-Related) (Not Film-Related) (Not Film-Related) Branded Content) Branded Content) Scripted Film/TV Scripted Film/TV (Film-Related) (Film-Related) Other Other
(Gender Identity) and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 15% 12% 4% 5% 12% 13% 2% 5% 10% 11% 46% 42% 7% 9% 2% 2% 3% 2% 11% 16% 4% 4% 13% 11% 4% 3% 12% 10% 42% 46% 10% 6% 2% 1% 2% 3% Men Women White BIPOC •24 GLOBAL RESPONSES Global Documentary Professionals Secondary Source of Income Secondary Source ofIncome INCOME Educator (ProfessororTeacher) No secondarysourceofincome Non-Profit Organization(Film- Non-Profit Organization(Not For-Profit Organization(Not Advertising (Commercial or Unscripted orRealityTV Documentary Film/TV Branded Content) Scripted Film/TV Film-Related) Film-Related) Related) Other (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 6% 3% 6% 27% 7% 3% 3% 13% 3% 29% •25 GLOBAL RESPONSES
Secondary Source of Income Global Documentary Professionals (BIPOC and White)
Advertising (Commercial or 6% BIPOC Branded Content) 8% White
25% Documentary Film/TV 28%
6% Educator (Professor or Teacher) 6%
For-Profit Organization (Not 4% Film-Related) 2%
Non-Profit Organization (Film- 7% Related) 6%
Non-Profit Organization (Not 4% INCOME Film-Related) 2%
12% Other 14%
4% Scripted Film/TV 3%
4% Unscripted or Reality TV 2%
28% No secondary source of income 30%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 26 GLOBAL RESPONSES
Secondary Source of Income Global Documentary Professionals (Gender Identity)
Advertising (Commercial or 6% Women Branded Content) 10% Men
27% Documentary Film/TV 26%
6% Educator (Professor or Teacher) 7%
For-Profit Organization (Not 3% Film-Related) 3%
Non-Profit Organization (Film- 6% Related) 6%
Non-Profit Organization (Not 3% INCOME film-Related) 2%
13% Other 14%
3% Scripted Film/TV 4%
2% Unscripted or Reality TV 3%
32% No secondary source of income 25%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 27 Global Documentary Professionals Importance of Documentary Income to Livelihood Global Documentary Professionals Importance of Documentary Income to Livelihood Global Documentary Professionals Importance of Documentary Income to Livelihood GLOBAL RESPONSES Importance ofDocumentary Income toLivelihood IMPORTANCE IMPORTANCE IMPORTANCE I Do Not Depend on Documentary I Do Not Depend on Documentary I Do Not Depend on Documentary Documentary isIncidentaltothe Documentary isIncidentaltothe Documentary isImportantinthe Documentary isImportantinthe Documentary isIncidentaltothe Documentary isImportantinthe Through DocumentaryWork Through DocumentaryWork Through DocumentaryWork Work AtAlltoMake aLiving Work atalltoMake aLiving Work atalltoMake aLiving Mix ofWays IMake aLiving Mix ofWays IMake aLiving Mix ofWays IMake aLiving I SupportMyselfPrimarily I SupportMyselfPrimarily I SupportMyselfPrimarily Way IMake aLiving Way IMake aLiving Way IMake aLiving (Gender Identity) and White)(BIPOC (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
22% 14% 12% 12% 33% 30% 33% 44% 15% 21% 13% 9% 30% 32% 42% 38% 17% 12% 31% 40% Men Women White BIPOC •28 Percentage ofGross Annual Income from Documentary (past year) Global Documentary Professionals Percentage of Gross Annual Income from Documentary GLOBAL RESPONSES Percentage of Gross Annual Income from Documentary Percentage of Gross Annual Income from Documentary Global Documentary Professionals Global Documentary Professionals SHARE OF DOCUMENTARY INCOME SHARE OF DOCUMENTARY INCOME SHARE OF DOCUMENTARY INCOME A GoodDeal(51-75%) A GoodDeal(51-75%) A GoodDeal(51-75%) Not Much(1-25%) Not Much(1-25%) Not Much(1-25%) Some (26-50%) Some (26-50%) Some (26-50%) Most (76-99%) Most (76-99%) Most (76-99%) All (100%) All (100%) All (100%) (Gender Identity) (BIPOC and White)(BIPOC (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 32% 30% 19% 11% 10% 12% 18% 22% 21% 26% 31% 14% 11% 21% 24% 30% 32% 12% 18% 11% 11% 23% 16% 24% 24% Men Women White BIPOC •29 Types ofDocumentaries Worked On(past two years) GLOBAL RESPONSES Global Documentary Professionals Types of Recent Documentaries TYPE OF DOCUMENTARY WORKED ON Independent ProducerSellingFull Series Producer, OrOtherType of Documentary Productioninthe Commissioned LimitedSeries- - Work forHireProducer(The Independent Documentaries- Independent Producer(IOwn Director/Someone ElseOwns Commissioned LimitedSeries Independent Documentaries - Work forHireShowrunner, I Have NotWorked ona Last Two Years Producer Projects Rights) Rights) (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 17% 11% 54% 68% 5% •30 Global Documentary Professionals Types of Recent Documentaries GLOBAL RESPONSES Global Documentary Professionals Types of Recent Documentaries TYPE OF DOCUMENTARY WORKED ON TYPE OF DOCUMENTARY WORKED ON Independent ProducerSellingFull Independent ProducerSellingFull Director/Someone ElseOwnsthe Series Producer, or OtherType of Series Producer, orOtherType of Documentary Productioninthe Documentary Productioninthe Commissioned LimitedSeries- Commissioned LimitedSeries- - Work forHireProducer(The Independent Documentaries- Independent Producer(IOwn Independent Documentaries- Independent Documentaries- Independent Producer(IOwn Director/Someone ElseOwns Commissioned LimitedSeries Commissioned LimitedSeries Work For HireProducer(The Independent Documentaries - Work forHireShowrunner, - Work forHireShowrunner, I Have NotWorked ona I Have NotWorked ona Last Two Years Last Two Years Producer Producer Projects Projects Rights) Rights) Rights) Rights) (Gender Identity) (BIPOC and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 14% 19% 14% 10% 48% 58% 75% 64% 6% 4% 16% 18% 54% 55% 69% 66% 6% 5% 11% 11% Men Women White BIPOC •31 Impact ofCOVID-19 onDocumentary Careers GLOBAL RESPONSES Impact of COVID-19 onDocumentary Careers Global Documentary Professionals Impact of COVID-19 onDocumentary Careers Global Documentary Professionals Global Documentary Professionals Impact of COVID-19 onDocumentary Careers COVID IMPACT COVID IMPACT COVID IMPACT COVID hasHarmedmy Financial COVID hasHarmedmy Financial COVID hasHarmedmy Financial COVID hasHarmedmy Financial COVID hasHarmedmy Financial COVID hasHarmedmy Financial COVID hasSomewhatImproved COVID hasSomewhatImproved COVID hasSomewhatImproved COVID hasNotAffectedMeAt COVID hasNotAffectedMeAt COVID hasNotAffectedMeAt Stability aGreatDeal Stability aGreatDeal Stability aGreatDeal my FinancialStability my FinancialStability my FinancialStability Stability Somewhat Stability Somewhat Stability Somewhat All Financially All Financially All Financially (BIPOC and White)(BIPOC (All Respondents) (Gender Identity COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 4% 23% 42% 32% 4% 2% 22% 26% 43% 39% 31% 33% 4% 4% 23% 23% 40% 43% 34% 31% White BIPOC Men Women •32 Perceptions AboutDocumentary Opportunities (past two years) GLOBAL RESPONSES Perceptions About Documentary (past Opportunities 2 years) Global Documentary Professionals Global Documentary Professionals Perceptions About Documentary Opportunities Global Documentary Professionals Perceptions About Documentary Opportunities OPPORTUNITIES OPPORTUNITIES OPPORTUNITIES Great DealMoreOpportunities Great DealMoreOpportunities Great DealMoreOpportunities Fewer Opportunities Fewer Opportunities Fewer Opportunities More Opportunities More Opportunities More Opportunities Same Opportunities Same Opportunities Same Opportunities (All Respondents) (Gender Identity) and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 26% 36% 36% 3% 27% 25% 34% 37% 37% 35% 2% 3% 36% 36% 37% 34% 3% 2% 25% 28% Men Women White BIPOC •33 Most MeaningfulPart ofDocumentary Work GLOBAL RESPONSES Most Meaningful Part of Documentary Work Global Documentary Professionals MOST MEANINGFUL ASPECT OF DOC WORK Artistry andArtisticExpression Positive ImpactonSocialIssues Independent Creative Voice Professional Community Investigative Work Other (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 5% 11% 23% 30% 46% 3% •34 Global Documentary Professionals Most Meaningful Part of Documentary Work GLOBAL RESPONSES Most Meaningful Part of Documentary Work Global Documentary Professionals MOST MEANINGFUL ASPECT OF DOC WORK MOST MEANINGFUL ASPECT OF DOC WORK Artistry andArtisticExpression Positive ImpactonSocialIssues Artistry andArtisticExpression Positive ImpactonSocialIssues Independent Creative Voice Independent Creative Voice Professional Community Professional Community Investigative Work Investigative Work Other Other (Gender Identity (BIPOC and White)(BIPOC COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 2% 4% 25% 21% 4% 6% 29% 30% 11% 11% 42% 50% 3% 4% 22% 25% 5% 7% 29% 32% 10% 13% 47% 45% Men Women White BIPOC •35 Greatest Challenge Facing Documentary Today GLOBAL RESPONSES Greatest Challenges Facing Documentary Today Global Documentary Professionals CHALLENGE Representation inDocumentary Making aLivinginDocumentary Getting Funding toMake Legal ChallengesFacing Security andSafetyfor Documentary Makers Documentary Makers Diversity, Equity, and Documentaries Other Work (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 1% 5% 15% 37% 42% 1% •36 Greatest Challenge Facing Documentary Today Greatest Challenge Facing Documentary Today Global Documentary Professionals Global Documentary Professionals GLOBAL RESPONSES CHALLENGE CHALLENGE Representation inDocumentary Representation inDocumentary Making aLivinginDocumentary Making aLivinginDocumentary Getting Funding toMake Getting Funding toMake Legal ChallengesFacing Legal ChallengesFacing Security andSafetyfor Security andSafetyfor Documentary Makers Documentary Makers Documentary Makers Documentary Makers Diversity, Equityand Diversity, Equityand Documentaries Documentaries Other Other Work Work (Gender Identity) and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 1% 2% 5% 5% 38% 33% 1% 1% 44% 38% 12% 20% 1% 1% 6% 4% 37% 38% 1% 0% 42% 42% 12% 15% Men Women White BIPOC •37 opportunity”). This graph depicts the percentage of respondents who answered “a great opportunity”for eachresponse (instead of “not muchof anopportunity” or “an GLOBAL RESPONSES Format andDistribution: Perceptions of Great Future Opportunity Global Documentary Professionals Format &Distribution: Perceptions ofGreatest Future Opportunity A GREAT OPPORTUNITY Non-Theatrical VirtualScreenings Theatrical Dist.(Physical) Theatrical Dist.(Virtual) Grassroots/Community Streaming Distribution Short-Form Streaming Feature-Length Docs Festivals (Physical) Festivals (Virtual) Short-Form Docs Interactive Docs TV Distribution Social Media Screenings Podcasts Series (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 14% 53% 35% 38% 29% 32% 24% 22% 21% 50% 25% 18% 8% 10% 13% •38 opportunity”). This graph depicts the percentage of respondents who answered “a great opportunity”for eachresponse (instead of “not muchof anopportunity” or “an GLOBAL RESPONSES Format andDistribution: Perceptions of Great Future Opportunity Global Documentary Professionals A GREAT OPPORTUNITY Non-Theatrical VirtualScreenings Theatrical Dist.(Physical) Theatrical Dist.(Virtual) Grassroots/Community Streaming Distribution Short-Form Streaming Feature-Length Docs Festivals (Physical) Festivals (Virtual) Short-Form Docs Interactive Docs TV Distribution Social Media Screenings Podcasts Series (BIPOC and White)(BIPOC COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 16% 11% 18% 13% 17% 54% 51% 37% 31% 37% 41% 31% 26% 30% 36% 21% 30% 20% 27% 19% 26% 52% 45% 25% 25% 17% 20% 7% 10% 8% White BIPOC •39 Format andDistribution: Perceptions of Great Future Opportunity Global Documentary Professionals opportunity”). This graph depicts the percentage of respondents who answered “a great opportunity”for eachresponse (instead of “not muchof anopportunity” or “an GLOBAL RESPONSES A GREAT OPPORTUNITY Non-Theatrical VirtualScreenings Theatrical Dist.(Physical) Theatrical Dist.(Virtual) Grassroots/Community Streaming Distribution Short-Form Streaming Feature-Length Docs Festivals (Physical) Festivals (Virtual) Short-Form Docs Interactive Docs TV Distribution Social Media Screenings Podcasts Series (Gender Identity) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 12% 13% 13% 12% 16% 51% 54% 38% 34% 41% 37% 25% 32% 27% 34% 22% 25% 22% 21% 24% 19% 50% 51% 25% 25% 15% 19% 10% 6% 7% Men Women •40 opportunity”). This graph depicts the percentage of respondents who answered “a great opportunity”for eachresponse (instead of “not muchof anopportunity” or “an Economic Streams: Perceptions ofPositive Future Opportunity GLOBAL RESPONSES Perceptions of Great Future Economic Opportunity Global Documentary Professionals A GREAT OPPORTUNITY Funding fromRecoupableGrants Funding fromCorporate Sources Commissioned Work fromNon- Commissioned Work fromFilm Commissioned Work fromFor- Non-Profit Grants andSources Funding fromFoundation and Shared Advertising Revenue Subscription-Based Funding Studios orTVNetworks Investment Financing Profit Organizations (Non-Recoupable) Profit Companies Crowd-Funding (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 9% 7% 6% 6% 5% 21% 15% 14% 12% 10% •41 GLOBAL RESPONSES
Perceptions of Great future Economic Opportunity Global Documentary Professionals (BIPOC and White)
9% BIPOC Shared Advertising Revenue 3% White
9% Subscription-Based Funding 4%
7% Investment Financing 6%
9% Funding from Recoupable Grants 6%
12% Funding from Corporate Sources 7%
16% Crowd-Funding 7%
A GREAT OPPORTUNITY GREAT A Commissioned Work From 16% For-Profit 10%
Funding from Foundation and 18% Non-Profit Grants and Sources (Non-Recoupable) 13%
Commissioned Work from Non- 19% Profit Organizations 13%
Commissioned Work from Film 24% Studios or TV Networks 20%
This graph depicts the percentage of respondents who answered “a great opportunity” for each response (instead of “not much of an opportunity” or “an opportunity”).
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 42 GLOBAL RESPONSES
Perceptions of Great Future Economic Opportunity Global Documentary Professionals (Gender Identity)
6% Women Shared Advertising Revenue 3% Men
6% Subscription -Based Funding 6%
7% Investment Financing 5%
8% Funding from Recoupable Grants 6%
10% Funding from Corporate Sources 7%
8% Crowd-Funding 13%
A GREAT OPPORTUNITY GREAT A Commissioned Work from For- 13% Profit Companies 10%
Funding from Foundation and 16% Non-Profit Grants and Sources (Non-Recoupable) 12%
Commissioned Work from Non- 16% Profit Organizations 12%
Commissioned Work from Film 23% Studios or TV Networks 19%
This graph depicts the percentage of respondents who answered “a great opportunity” for each response (instead of “not much of an opportunity” or “an opportunity”).
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 43 Experience and Motivations GLOBAL DOCUMENTARY MAKERS GLOBAL RESPONSES Global Documentary Directors andProducers Documentaries Produced So Far Documentaries Produced SoFar NUMBER OF FILMS 1 orMoreShorts(10-20Minutes) 1 orMoreVery Short-Form (1-9 More than10Full-Length Films 1 Full-Length Film(Half-Hour, Hour, orFeature Length) 5-10 Full-Length Films 2-4 Full-Length Films Minutes)) (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 9% 5% 13% 22% 31% 22% •44 GLOBAL RESPONSES Global Documentary Directors andProducers Documentaries Produced So Far Global Documentary Directors andProducers Documentaries Produced So Far NUMBER OF FILMS NUMBER OF FILMS 1 orMoreShorts(10-20Minutes) 1 orMoreShorts(10-20Minutes) 1 orMoreVery Short-Form (1-9 1 orMoreVery Short-Form (1-9 More than10Full-Length Films More than10Full-Length Films 1 Full-Length Film(Half-Hour, 1 Full-Length Film(Half-Hour, Hour, orFeature Length) Hour, orFeature Length) 5-10 Full-Length Films 5-10 Full Length Films 2-4 Full-Length Films 2-4 Full-Length Films Minutes) Minutes) (BIPOC and White)(BIPOC (Gender Identity) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 16% 6% 25% 14% 31% 31% 20% 25% 6% 17% 3% 8% 14% 13% 20% 23% 30% 31% 23% 20% 10% 7% 3% 5% White BIPOC Men Women •45 Documentary Length (most recent film) GLOBAL RESPONSES Global Documentary Directors andProducers Most Recent Documentary Film-Length LENGTH OF MOST RECENT FILM Half-Hour (or 22-30Minutes) Very Short(2-9Minutes) Hour (or 44-60Minutes) (Theatrical, 90Minutes) Short (10-20Minutes) Multi-Part Series Feature-Length
(All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 9% 10% 18% 51% 6% 6% •46 Global Documentary Directors andProducers Most Recent Documentary FilmLength GLOBAL RESPONSES Global Documentary Directors andProducers Most Recent Documentary FilmLength LENGTH OF MOST RECENT FILM LENGTH OF MOST RECENT FILM Half-Hour (or 22-30Minutes) Half-Hour (or 22-30Minutes) Very Short(2-9Minutes) Very Short(2-9Minutes) Hour (or 44-60Minutes) (Theatrical, 90Minutes) (Theatrical, 90Minutes) Short (10-20Minutes) Short (10-20Minutes) Hour (44-60Minutes) Multi-Part Series Multi-Part Series Feature-Length Feature-Length
(Gender Identity) (BIPOC and White)(BIPOC COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 7% 6% 7% 9% 10% 10% 20% 16% 49% 53% 7% 6% 6% 8% 7% 16% 7% 16% 19% 15% 55% 40% 6% 6% Men Women White BIPOC •47 Global Documentary Directors andProducers Most Recent Documentary FilmFormat Documentary Format (most recent film) GLOBAL RESPONSES Global Documentary Directors andProducers Most Recent Documentary FilmFormat Global Documentary Directors andProducers Most Recent Documentary FilmFormat MOST RECENT FORMAT MOST RECENT FORMAT MOST RECENT FOR- Interactive (notvirtualreality) Interactive (notvirtualreality) Interactive (notvirtualreality) Traditional linear Traditional linear Traditional linear Virtual Reality Virtual Reality Virtual Reality (Gender Identity) (All Respondents) (BIPOC and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 1% 1% 2% 4% 97% 95% 1% 3% 96% 1% 2% 3% 4% 97% 94% Men Women White BIPOC •48 How Long Does itTake toMake aDocumentary? GLOBAL RESPONSES Amount of Time Spent Making Most Recent Documentary Global Documentary Directors andProducers Global Documentary Directors andProducers Amount of Time Spent Making Most Recent Documentary Global Documentary Directors andProducers Amount of Time Spent Making Most Recent Documentary TIME WORKED ON MOST RECENT FILM TIME WORKED ON MOST RECENT FILM TIME WORKED ON MOST RECENT FILM Less Than6Months More than10Years More than10Years More than10Years Less than6Months Less than6Months 6 Monthsto1Year 6 Monthsto1Year 6 Monthsto1Year 5-10 Years 5-10 Years 5-10 Years 1-5 Years 1-5 Years 1-5 Years (All Respondents) (BIPOC and White)(BIPOC (Gender Identity) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
6% 15% 57% 19% 2% 8% 5% 16% 14% 57% 58% 19% 20% 0% 4% 5% 9% 12% 23% 61% 48% 21% 16% 2% 4% Men Women White BIPOC •49 Stories Documentary Makers’ Self-Descriptions: SocialIssue vs. Entertainment Global Documentary Directors andProducers Social Issue or Pure Entertainment Films GLOBAL RESPONSES Social Issue or Pure Entertainment Films Social Issue or Pure Entertainment Films Global Documentary Directors andProducers Global Documentary Directors andProducers SELF-DESCRIPTION SELF-DESCRIPTION SELF-DESCRIPTION Social IssueAdvocate Filmmaker Social IssueAdvocate Filmmaker Social IssueAdvocate Filmmaker Entertainment Storytelling Entertainment Storytelling Entertainment Storytelling Investigative Filmmaker Investigative Filmmaker Investigative Filmmaker Filmmaker Filmmaker Filmmaker (Gender Identity) (BIPOC and White)(BIPOC (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 10% 8% 40% 26% 50% 66% 34% 24% 9% 31% 60% 9% 8% 57% 68% Men Women White BIPOC •50 Social Change Motivation with Documentary Global Documentary Professionals (Making SocialImpactasDriving Motivation) Documentary Makers’ SocialChange Motivations GLOBAL RESPONSES Social Change Motivation with Documentary Global Documentary Professionals Global Documentary Professionals Social Change Motivation with Documentary MOTIVATION - IMPACT ON MOTIVATION - IMPACT ON MOTIVATION - IMPACT ON SOCIAL ISSUES SOCIAL ISSUES SOCIAL ISSUES A PrimaryMotivation A PrimaryMotivation A PrimaryMotivation A MinorMotivation A MinorMotivation A MinorMotivation Not aMotivation Not aMotivation Not aMotivation A Motivation A Motivation A Motivation (Gender Identity) (All Respondents) (BIPOC and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
3% 1% 10% 5% 37% 35% 49% 58% 2% 8% 36% 54% 2% 2% 9% 5% 37% 34% 52% 59% Men Women White BIPOC •51 Who Sells orLicenses Documentary for Distribution? Film Licensing Experience for Most Recent Film Film Licensing Experience for Most Recent Film Global Documentary Directors andProducers Global Documentary Directors andProducers of Documentary Filmmaking The Global Business and Distribution GLOBAL DOCUMENTARY MAKERS GLOBAL RESPONSES Film Licensing Experience for Most Recent Film Global Documentary Directors andProducers SALE SALE SALE Film DidNotGetSold/Licensed(It Licensed (ItwasSelf-Distributed) Licensed (ItwasSelf-Distributed) The FilmDidNotGetSold/ The FilmDidNotGetSold/ was Self-Distributed) Some OtherWay Some OtherWay Some OtherWay Sales Agent Sales Agent Sales Agent Myself Myself Myself (All Respondents) (Gender Identity) (BIPOC and White)(BIPOC COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 20% 42% 12% 22% 16% 23% 49% 38% 18% 20% 24% 10% 43% 40% 24% 16% 16% 24% 17% 26% Men Women White BIPOC •52 How Most Recent Documentaries Were Distributed GLOBAL RESPONSES Global Documentary Directors andProducers Distribution for Most Recent Film DISTRIBUTION Public Television (ex: NationalorLocal Affiliates) International Television Broadcast,Streamingor Cable orSatelliteVideoonDemandService(ex: Premium CableTelevision (ex: HBO, Showtime) Transactional StreamingVideoonDemand(ex: Corporate SponsorshiporLicensing(Including Subscription StreamingVideoonDemand(ex: Theatrical Distribution(Physical, notFestival) Bookstores, Arts,andCultural Organizations) Non-Theatrical VirtualScreenings(Museums, Theatrical Distribution(Virtual,notFestival) Grassroots andCommunityScreenings(ex: News Brand (ex: NewYork Times,Atlantic, Social MediaPlatform(Instagram, Twitter, Bookings by CollegesandOtherGroups) Cable Television (ex: CNN,Discovery) Educational Distribution(Streaming) DVD Sales(Other, notEducational) Short-Form StreamingPlatform Educational Distribution(DVD) Time Warner, DIRECTV, DISH) NGO SponsorshiporLicensing Film Festivals (Virtual/Online) iTunes, Amazon,VHX,Vimeo) Film Festivals (Physical) Netflix, AmazonPrime) Facebook, TikTok) Branded Content) Guardian) Airline Other (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 5% 10% 36% 51% 39% 8% 21% 34% 62% 29% 25% 5% 4% 28% 33% 33% 19% 6% 11% 4% 8% 1% •53 GLOBAL RESPONSES Global Documentary Directors andProducers Distribution for Most Recent Film DISTRIBUTION Public Television (ex: NationalorLocal Affiliates) International Television Broadcast,Streamingor Cable orSatelliteVideoonDemandService(ex: Premium CableTelevision (ex: HBO, Showtime) Transactional StreamingVideoonDemand(ex: Corporate SponsorshiporLicensing(Including Subscription StreamingVideoonDemand(ex: Theatrical Distribution(Physical, notFestival) Bookstores, Arts,andCultural Organizations) Non-Theatrical VirtualScreenings(Museums, Theatrical Distribution(Virtual,notFestival) Grassroots andCommunityScreenings(ex: News Brand (ex: NewYork Times,Atlantic, Social MediaPlatform(Instagram, Twitter, Bookings by CollegesandOtherGroups) Cable Television (ex: CNN,Discovery) Educational Distribution(Streaming) DVD Sales(Other, notEducational) Short-Form StreamingPlatform Educational Distribution(DVD) Time Warner, DIRECTV, DISH) NGO SponsorshiporLicensing Film Festivals (Virtual/Online) iTunes, Amazon,VHX,Vimeo) Film Festivals (Physical) Netflix, AmazonPrime) Facebook, TikTok) Branded Content) Guardian) Airline Other (BIPOC and White)(BIPOC COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 55% 42% 40% 37% 7% 9% 26% 11% 31% 41% 64% 59% 30% 11% 6% 35% 38% 11% 10% 3% 7% 7% 11% 0% 1% 3% 9% 4% 6% 34% 14% 37% 26% 36% 26% 6% 4% 34% 17% 20% 18% 7% 2% 11% White BIPOC •54 GLOBAL RESPONSES
Distribution for Most Recent Film Global Documentary Directors and Producers (Gender Identity)
65% Women Film Festivals (Physical) 59% Men 37% Film Festivals (Virtual/Online) 30% 22% Theatrical Distribution (Physical, Not Festival) 21% 7% Theatrical Distribution (Virtual, not Festival) 8% Non-Theatrical Virtual Screenings (Museums, 43% Bookstores, Arts, and Cultural Organizations) 34% Grassroots and Community Screenings (ex: 56% Bookings by Colleges and Other Groups) 46% 38% Public Television (ex: National or Local Affiliates) 33% 10% Cable Television (ex: CNN, Discovery) 10% 6% Premium Cable Television (ex: HBO, Showtime) 5% International Television Broadcast, Streaming or 20% Airline 20% Subscription Streaming Video on Demand (ex: 27% Netflix, Amazon Prime) 23% Transactional Streaming Video on Demand (ex: 27% iTunes, Amazon, VHX, Vimeo) 34% DISTRIBUTION Cable or Satellite Video on Demand Service (ex: 5% Time Warner, DIRECTV, DISH) 6% 36% Educational Distribution (Streaming) 29% 33% Educational Distribution (DVD) 34% 27% DVD Sales (Other, Not Educational) 31% Corporate Sponsorship or Licensing (Including 5% Branded Content) 4% 5% NGO Sponsorship or Licensing 5% 1% Short-Form Streaming Platform 0% Social Media Platform (Instagram, Twitter, 7% Facebook, TikTok) 8% News Brand (ex: New York Times, Atlantic, 5% Guardian) 3% 13% Other 7%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 55 GLOBAL RESPONSES
Documentary Format Plans for the Future (Produced Already + Plans to Produce in the Future)
Film Format Plans for the Future Global Documentary Directors and Producers (All Respondents)
Short-Form Documentaries 70%
Web-Only Documentaries 34%
Virtual Reality/Interactive Documentaries 5%
Branded Documentaries (Sponsored by a Company) 20%
Branded Documentaries (Sponsored by a Nonprofit Organizations) 32%
Multi-part documentary series 27% HAVE AND CONTINUE HAVE TV Commercials 16%
Scripted Films or TV Programs 18%
Podcasts 8%
Other 6%
This graph depicts the percentage of respondents who answered “I have produced this already and plan to in the future.”
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 56 GLOBAL RESPONSES
Film Format Plans for the Future Global Documentary Directors and Producers (BIPOC and White)
80% BIPOC Short-Form Documentaries 65% White
37% Web-Only Documentaries 32%
Virtual Reality/Interactive 6% Documentaries 5%
Branded Documentaries (Sponsored by 23% a Company) 18%
Branded Documentaries (Sponsored by 33% a Nonprofit Organizations) 32% 26% Multi-part Documentary Series
HAVE AND CONTINUE HAVE 27% 18% TV Commercials 15%
18% Scripted Films or TV Programs 18%
6% Podcasts 9%
2% Other 8%
Film Format Plans for the Future Global Documentary Directors and Producers (Gender Identity)
66% Women Short-Form Documentaries 74% Men 29% Web-Only Documentaries 40%
Virtual Reality/Interactive 6% Documentaries 4%
Branded Documentaries (Sponsored by 22% a Company) 17%
Branded Documentaries (Sponsored by 34% a Non-Profit Organization) 29%
27% Multi-part documentary series
HAVE AND CONTINUE HAVE 27% 12% TV Commercials 21% 16% Scripted Films or TV Programs 21% 10% Podcasts 6% 4% Other 8%
This graph depicts the percentage of respondents who answered COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 57 “I have produced this already and plan to in the future.” “I have distributed this way already and plan to in the future.” This graph depicts the percentage of respondents who answered (Distributed ThisWay Already +PlantoDistribute ThisWay inthe Future) Documentary Format Plansfor the Future GLOBAL RESPONSES Global Documentary Directors andProducers Distribution Future Plans HAVE AND CONTINUE Public Television (ex: NationalorLocal Affiliates) International Television Broadcast,Streamingor Cable orSatelliteVideoonDemandService(ex: Premium CableTelevision (ex: HBO, Showtime) Transactional StreamingVideoonDemand(ex: Corporate SponsorshiporLicensing(Including Theatrical Distribution(Physical, NotFestival) Subscription StreamingVideoonDemand(ex: Bookstores, Arts,andCultural Organizations) Non-Theatrical VirtualScreenings(Museums, Theatrical Distribution(Virtual,NotFestival) Grassroots andCommunityScreenings(ex: Short-Form StreamingPlatform(ex: Quibi) Social MediaPlatform(Instagram, Twitter, Bookings by CollegesandOtherGroups) Cable Television (ex: CNN,Discovery) Educational Distribution(Streaming) DVD Sales(Other, NotEducational) Educational Distribution(DVD) NGO SponsorshiporLicensing Film Festivals (Virtual/Online) iTunes, Amazon,VHX,Vimeo) Film Festivals (Physical) Netflix, AmazonPrime) Facebook, TikTok) Branded content) Time Warner Airline Other (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
59% 71% 54% 20% 42% 42% 79% 1% 13% 3% 15% 13% 44% 49% 51% 15% 48% 37% 42% 18% 28% •58 GLOBAL RESPONSES Global Documentary Directors andProducers Distribution Future Plans “I have distributed this way already andplan to in the future.” This graph depicts the percentage of respondents who answered HAVE AND CONTINUE Public Television (ex: NationalorLocal Affiliates) International Television Broadcast,Streamingor Premium CableTelevision (ex: HBO, Showtime) Transactional StreamingVideoonDemand(ex: Corporate SponsorshiporLicensing(Including Theatrical Distribution(Physical, NotFestival) Subscription StreamingVideoonDemand(ex: Bookstores, Arts,andCultural Organizations) Non-Theatrical VirtualScreenings(Museums, Cable orSatelliteVideoonDemand(ex: Time Theatrical Distribution(Virtual,NotFestival) Grassroots andCommunityScreenings(ex: Short-Form StreamingPlatform(ex: Quibi) Social MediaPlatform(Instagram, Twitter, Bookings by CollegesandOtherGroups) Cable Television (ex: CNN,Discovery) Educational Distribution(Streaming) DVD Sales(Other, NotEducational) Educational Distribution(DVD) NGO SponsorshiporLicensing Film Festivals (Virtual/Online) iTunes, Amazon,VHX,Vimeo) Warner, DIRECTV, DISH) Film Festivals (Physical) Netflix, AmazonPrime) Facebook, TikTok) Branded Content) Airline Other (BIPOC and White)(BIPOC COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 61% 54% 74% 64% 56% 51% 21% 17% 48% 28% 41% 44% 82% 71% 14% 10% 51% 29% 55% 33% 56% 40% 17% 9% 56% 30% 44% 19% 45% 34% 22% 8% 33% 15% 0% 3% 11% 17% 2% 3% 14% 18% White BIPOC •59 GLOBAL RESPONSES
Distribution Future Plans Global Documentary Directors and Producers (Gender Identity) Women 82% Film Festivals (Physical) Men 75% 46% Film Festivals (Virtual/Online) 35% 47% Theatrical Distribution (Physical, Not Festival) 35% 21% Theatrical Distribution (Virtual, Not Festival) 18%
Non-Theatrical Virtual Screenings (Museums, 58% Bookstores, Arts, Cultural Organizations) 50%
Grassroots and Community Screenings (ex: 76% Bookings by Colleges and Other Groups) 66% 61% Public Television (ex: National or Local Affiliates) 57% 28% Cable Television (ex: CNN, Discovery) 28% 20% Premium Cable Television (ex: HBO, Showtime) 16%
International Television Broadcast, Streaming or 45% Airline 38%
Subscription Streaming Video on Demand (ex: 41% Netflix, Amazon Prime) 31%
Transactional Streaming Video on Demand (ex: 47% iTunes, Amazon, VHX, Vimeo) 51% HAVE AND CONTINUE HAVE
Cable or Satellite Video on Demand (ex: Time 14% Warner, DIRECTV, DISH) 16%
56% Educational Distribution (Streaming) 46% 53% Educational Distribution (DVD) 43% 46% DVD Sales (Other, Not Educational) 43%
Corporate Sponsorship or Licensing (Including 15% Branded Content) 10% 17% NGO Sponsorship or Licensing 14% 2% Short-Form Streaming Platform (ex: Quibi) 3%
Social Media Platform (Instagram, Twitter, 10% Facebook, TikTok) 16% 1% Other 0%
This graph depicts the percentage of respondents who answered “I have distributed this way already and plan to in the future.” COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 60 Community Screenings for Most Recent Documentaries GLOBAL RESPONSES Community Screenings for Most Recent Film Community Screenings for Most Recent Film Community Screenings for Most Recent Film Global Documentary Directors andProducers Global Documentary Directors andProducers Global Documentary Directors andProducers SCREENINGS SCREENINGS SCREENINGS Yes Yes Yes No No No (BIPOC and White)(BIPOC (Gender Identity) (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 28% 72% 35% 24% 65% 76% 28% 30% 72% 70% Men Women White BIPOC •61 Global Documentary Directors andProducers Work with Impact Producer for Most Recent Film GLOBAL RESPONSES Work with Impact Producer for Most Recent Film Collaboration with ImpactProducers Work with Impact Producer for Most Recent Film Global Documentary Directors andProducers Global Documentary Directors andProducers IMPACT IMPACT IMPACT PRODUCER PRODUCER PRODUCER Yes Yes Yes No No No (Gender Identity) (BIPOC and White)(BIPOC (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
22% 28% 78% 72% 25% 75% 27% 22% 74% 78% Men Women White BIPOC •62 Global Documentary Directors andProducers Work with Impact Producer for Most Recent Film GLOBAL RESPONSES Leveraging Fair Use inMost Recent Film Filmmakers’ Utilization ofFair Use inMost Recent Documentaries Global Documentary Directors andProducers Leveraging Fair Use inMost Recent Film Global Documentary Directors andProducers FAIR USE FAIR USE FAIR USE Not Sure Not Sure Not Sure Yes Yes Yes No No No (Gender Identity) (BIPOC and White)(BIPOC (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
5% 5% 29% 20% 5% 24% 71% 3% 8% 21% 34% 66% 75% 76% 58% Men Women White BIPOC •63 was a “main” source of funding(vs. “contributing” or “not asource” of funding). This graph depicts the percentage of respondents who answered that eachresponse Main Source ofFunding for Most Recent Documentary Filmmaking The Global Economics ofDocumentary GLOBAL DOCUMENTARY MAKERS GLOBAL RESPONSES Main Source of Funding for Most Recent Film Global Documentary Directors andProducers A MAIN SOURCE OF FUNDING Non-Profit Organization(NotAcademic) Individual Donors(NotCrowd-Sourced) Cable TVNetwork(ex: HBO, Discovery, Grants (Non-Recoupable/Foundations, Household Finances(IncludesSpousal Broadcast TVNetwork(ex: PBS,NBC) Personal Finances(Your OwnMoney) Social MediaNetwork(ex: Facebook, Individual Investments tobeRepaid Online StreamingSite(ex: Netflix, News Brand (ex: NewYork Times, Crowd Funding (ex: Kickstarter) Short-Form StreamingNetwork Film Studio(ex: Sony, Fox) Government, Non-Profit) (Not Crowd-Sourced) Academic Institution Recoupable Grants Corporate Funding TikTok, Instagram) Amazon) Atlantic) Income) CNN) (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 4% 29% 7% 23% 1% 4% 6% 6% 14% 9% 5% 13% 5% 2% 1% 1% 4% •64 GLOBAL RESPONSES
Main Source of Funding for Most Recent Film Global Documentary Directors and Producers (BIPOC and White)
24% BIPOC Personal Finances (Your Own Money) 22% White
Household Finances (Includes Spousal 7% Income) 7%
Grants (Non-Recoupable/Foundations, 37% Government, Non-Profit) 26%
1% Recoupable Grants 6%
4% Corporate Funding 4%
1% Short-Form Streaming Network 1%
Social Media Network (ex: Facebook, 2% TikTok, Instagram) 1%
1% Film Studio (ex: Sony, Fox) 3%
Cable TV Network (ex: HBO, Discovery, 4% CNN) 6%
17% Broadcast TV Network (ex: PBS, NBC) 12% A MAIN SOURCE OF FUNDING OF MAIN SOURCE A Online Streaming Site (ex: Netflix, 1% Amazon) 6%
Individual Investments to be Repaid 7% (Not Crowd-Sourced) 9%
9% Individual Donors (Not Crowd-Sourced) 16%
6% Crowd Funding (ex: Kickstarter) 6%
6% Non-Profit Organization (Not Academic) 6%
3% Academic Institution 5%
News Brand (ex: New York Times, 3% Atlantic) 1%
This graph depicts the percentage of respondents who answered that each response was a “main” source of funding (vs. “contributing” or “not a source” of funding).
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 65 GLOBAL RESPONSES
Main Source of Funding for Most Recent Film Global Documentary Directors and Producers (Gender Identity)
20% Women Personal Finances (Your Own Money) 26% Men
Household Finances (Includes Spousal 8% Income) 4%
Grants (Non-Recoupable/Foundations, 29% Government, Non-Profit) 30%
5% Recoupable Grants 3%
4% Corporate Funding 4%
1% Short-Form Streaming Network 0%
Social Media Network (ex: Facebook, 1% TikTok, Instagram) 1%
2% Film Studio (ex: Sony, Fox) 2%
Cable TV Network (ex: HBO, Discovery, 5% CNN) 7%
13% Broadcast TV Network (ex: PBS, NBC) 14% A MAIN SOURCE OF FUNDING OF MAIN SOURCE A Online Streaming Site (ex: Netflix, 6% Amazon) 2%
Individual Investments to be Repaid 10% (Not Crowd-Sourced) 8%
17% Individual Donors (Not Crowd-Sourced) 10%
8% Crowd Funding (ex: Kickstarter) 3%
6% Non-Profit Organization (Not Academic) 6%
5% Academic Institution 3%
News Brand (ex: New York Times, 1% Atlantic) 1%
This graph depicts the percentage of respondents who answered that each response was a “main” source of funding (vs. “contributing” or “not a source” of funding).
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 66 Global Documentary Directors andProducers Amount of Personal Money Spent Making Most Recent Film Global Documentary Directors andProducers Amount of Personal Money Spent Making Most Recent Film GLOBAL RESPONSES Amount of Personal Money Spent Making Most Recent Film Global Documentary Directors andProducers PERSONAL MONEY SPENT PERSONAL MONEY SPENT PERSONAL MONEY SPENT Amount ofPersonal Money SpentMaking Most Recent Documentary $20,000 -$49,999 $20,000 -$49,999 $20,000 -$49,999 $5,000 -$19,999 $5,000 -$19,999 $5,000 -$19,999 $50,000 ormore $50,000 ormore $50,000 ormore $501 -$4,999 $501 -$4,999 $501 -$4,999 $500 orless $500 orless $500 orless (BIPOC and White)(BIPOC (Gender Identity) (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
32% 33% 19% 22% 25% 23% 11% 10% 13% 12% 37% 23% 17% 31% 22% 27% 11% 10% 14% 9% 33% 21% 24% 11% 12% Men Women White BIPOC •67 Revenue from Most Recent Documentary Revenue from Most Recent Documentary Global Documentary Directors andProducers Global Documentary Directors andProducers Documentary Revenue from Most Recent Film GLOBAL RESPONSES Revenue from Most Recent Documentary Global Documentary Directors andProducers REVENUE REVENUE REVENUE The filmmadeenoughrevenue tocover unpaid The filmmadeenoughrevenue tocover unpaid The filmmadeenoughrevenue tocover unpaid The filmmadeenoughrevenue tocover unpaid The filmmadeenoughrevenue tocover unpaid The filmmadeenoughrevenue tocover unpaid production costsandmake aprofit. production costsandmake aprofit. production costsandmake aprofit. The filmdidnotmake any revenue. The filmdidnotmake any revenue. The filmdidnotmake any revenue. production costs. production costs. production costs. (Gender Identity) and White)(BIPOC (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 37% 38% 26% 18% 37% 44% 41% 28% 22% 17% 37% 56% 21% 37% 42% Men Women White BIPOC •68 Global Documentary Directors andProducers Main Revenue Source from Most Recent Documentary GLOBAL RESPONSES MAIN SOURCE OF REVENUE Public Television (ex: NationalPBS,Local PBS,POV) Premium CableTelevision (ex: HBO, Showtime) Theatrical Distribution(Physical, notFestival) Bookstores, Arts,andCultural Organizations) Non-Theatrical VirtualScreenings(Museums, (ex: Bookingsby CollegesandOtherGroups) Theatrical Distribution(Virtual,notFestival) Cable orSatelliteVideoonDemandService Transactional StreamingVideoonDemand News Brand (ex: NewYork Times,Atlantic) Short-Form StreamingNetwork(ex: Quibi) Subscription StreamingVideoonDemand Non-Governmental Organization(NGO) Grassroots andCommunityScreenings Cable Television (ex: CNN,Discovery) Educational Distribution(Streaming) Corporate SponsorshiporLicensing DVD Sales(Other, notEducational) (ex: TimeWarner, DIRECTV, DISH) International Television Broadcast (ex: iTunes, Amazon,VHX,Vimeo) Educational Distribution(DVD) Film Festivals (Virtual/Online) (Including Branded Content) (ex: Netflix,AmazonPrime) Film Festivals (Physical) Speaking Engagements Social MediaNetwork (ex: Facebook, (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 9% 8% 5% 5% 3% 1% 4% 0% 1% 2% 1% 1% 5% 1% 2% 5% 7% 1% 4% 8% 5% 3% •69 GLOBAL RESPONSES
Main Revenue Source from Most Recent Documentary Global Documentary Directors and Producers (BIPOC and White) 1% BIPOC Film Festivals (Physical) 1% White 0% Film Festivals (Virtual/Online) 0% 5% Theatrical Distribution (Physical, Not Festival) 4% 0% Theatrical Distribution (Virtual, Not Festival) 2%
Non-Theatrical Virtual Screenings (Museums, 3% Bookstores, Arts, and Cultural Organizations) 3%
Grassroots and Community Screenings 5% (ex: Bookings by Colleges and Other Groups) 5% 10% Public Television (ex: National PBS, Local PBS, POV) 9% 2% Cable Television (ex: CNN, Discovery) 7% 0% Premium Cable Television (ex: HBO, Showtime) 5% International Television Broadcast, 4% Streaming or Airline 6%
Subscription Streaming Video on Demand 1% (ex: Netflix, Amazon Prime) 11%
Transactional Streaming Video on Demand 1% (ex: iTunes, Amazon, VHX, Vimeo) 5%
Cable or Satellite Video on Demand 0% (ex: Time Warner, DIRECTV, DISH) MAIN SOURCE OF REVENUE OF MAIN SOURCE 1% 6% Educational Distribution (DVD) 9% 6% Educational Distribution (Streaming) 8% 2% DVD Sales (Other, Not Educational) 6%
Corporate Sponsorship or Licensing 4% (Including Branded Content) 1% 2% Non-Governmental Organization (NGO) 1% 5% Speaking Engagements 5% 1% Short-Form Streaming Network (ex: Quibi) 0% Social Media Network 2% (ex: Facebook, TikTok, Instagram) 1% 2% News Brand (ex: New York Times, Atlantic) 2%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 70 Global Documentary Directors andProducers Main Revenue Source from Most Recent Documentary GLOBAL RESPONSES MAIN SOURCE OF REVENUE Grassroots andCommunityScreenings(ex: Bookings Public Television (ex: NationalPBS,Local PBS,POV) Premium CableTelevision (ex: HBO, Showtime) Theatrical Distribution(Physical, NotFestival) Non-Theatrical VirtualScreenings(Museums, Theatrical Distribution(Virtual,NotFestival) Transactional StreamingVideoonDemand News Brand (ex: NewYork Times,Atlantic) Short-Form StreamingNetwork(ex: Quibi) Subscription StreamingVideoonDemand Bookstores, Arts,Cultural Organizations) Non-Governmental Organization(NGO) Cable Television (ex: CNN,Discovery) Educational Distribution(Streaming) Corporate SponsorshiporLicensing Cable orSatelliteVideoonDemand DVD Sales(Other, NotEducational) International Television Broadcast, (ex: TimeWarner, DIRECTV, DISH) (ex: iTunes, Amazon,VHX,Vimeo) (ex: Facebook, TikTok, Instagram) Educational Distribution(DVD) by CollegesandOtherGroups) Film Festivals (Virtual/Online) (ex: Netflix,AmazonPrime) Film Festivals (Physical) Speaking Engagements Social MediaNetwork Streaming orAirline (Gender Identity)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 4% 10% 8% 6% 5% 4% 2% 1% 1% 4% 5% 1% 0% 1% 1% 2% 1% 1% 1% 1% 1% 6% 5% 1% 1% 3% 1% 6% 4% 9% 7% 10% 7% 1% 1% 6% 3% 9% 8% 8% 4% 2% 4% 7% Men Women •71 Main Source ofIncome from Most Recent Film GLOBAL RESPONSES Main Income Source from Most Recent Documentary Global Documentary Directors andProducers MAIN SOURCE OF INCOME Speaking orAppearance Fees Associated Paid fromtheProducer’sLineItemin Paid fromtheProducer’slineItemin Paid fromtheDirector’sLineItemin (Money Putinby ProducerorDirector) Production Company Fees Paid outto Net Profit Participant fromFilmSales Paid fromDirector’sLineIteminthe Recoupment ofPersonal Financing Outreach/Impact Budget Outreach/Impact Budget Company Principals with theFilm Film Budget Film Budget Revenue (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 5% 6% 7% 21% 29% 2% 4% 5% •72 Global Documentary Directors andProducers Main Income Source from Most Recent Documentary Global Documentary Directors andProducers Main Income Source from Most Recent Documentary GLOBAL RESPONSES MAIN SOURCE MAIN SOURCE Speaking orAppearance Fees Associated Speaking orAppearance Fees Associated Paid fromtheProducer’sLineItemin Paid fromtheProducer’sLineItemin Paid fromthe Producer’sLineIteminthe Paid fromtheProducer’sLineItemin Paid fromtheDirector’sLineItemin Paid fromtheDirector’sLineItemin Budget intheOutreach/Impact (Money putinby Producer orDirector) (Money putinby ProducerorDirector) Production Company Fees Paid outto Production Company Fees paidoutto Net Profit Participant fromFilmSales Net Profit Participant fromFilmSales Paid fromDirector’sLineIteminthe Recoupment ofPersonal Financing Recoupment ofPersonal Financing Paid fromthe Director’sLineItem Outreach/Impact Budget Outreach/Impact Budget Outreach/Impact Budget Company Principals company principals with theFilm with theFilm Film Budget Film Budget Film Budget Film Budget Revenue Revenue (Gender Identity) and White)(BIPOC COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
5% 1% 2% 5% 3% 6% 3% 5% 7% 21% 19% 31% 23% 10% 2% 3% 2% 4% 3% 6% 4% 8% 5% 9% 6% 26% 17% 33% 26% 2% 8% 4% Men Women White BIPOC •73 Salary From Most Recent Documentary Global Documentary Directors andProducers Salary from Most Recent Documentary Global Documentary Directors andProducers Salary from Most Recent Documentary GLOBAL RESPONSES Salary from Most Recent Documentary Global Documentary Directors andProducers SALARY SALARY SALARY I Received Some(Less than50% I Received Some(Less than50% I Recieved Some(Less than50% I Received Most(Between51- I Received Most(Between51- I Received Most(Between51- I DidNotRecieve Any Salary I DidNotRecieve Any Salary I DidNotReceive Any Salary 99% ofmy ExpectedSalary) 99% ofmy ExpectedSalary) 99% ofmy ExpectedSalary) I Received All(100%ofmy I Received All(100%ofmy I Recieved All(100%ofmy of my ExpectedSalary) of my ExpectedSalary) of my ExpectedSalary) Expected Salary) Expected Salary) Expected Salary) (Gender Identity) and White)(BIPOC (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 26% 25% 17% 17% 19% 22% 38% 36% 28% 16% 18% 15% 19% 29% 36% 40% 25% 17% 22% 37% Men Women White BIPOC •74 Personal Income Amount from Most Recent Documentary GLOBAL RESPONSES Personal Income Amount from Most RecentDocumentary Global Documentary Directors andProducers INCOME $175,001 -$225,000 $125,001 -$175,000 More than$225,000 $75,001 -$125,000 $25,001 -$75,000 Less than$25,000 (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 3% 4% 15% 23% 55% 1% •75 GLOBAL RESPONSES Global Documentary Directors andProducers Personal Income Amount from Most RecentDocumentary Global Documentary Directors andProducers Personal Income Amount from Most RecentDocumentary INCOME INCOME $175,001 -$225,000 $125,001 -$175,000 $175,001 -$225,000 $125,001 -$175,000 More than$225,000 More than$225,000 $75,001 -$125,000 $75,001 -$125,000 $25,001 -$75,000 Less than$25,000 $25,001 -$75,000 Less than$25,000 (Gender Identity) and White)(BIPOC COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
2% 0% 3% 2% 4% 2% 17% 9% 26% 16% 48% 71% 1% 4% 3% 4% 17% 14% 25% 22% 51% 56% 2% 1% Men Women White BIPOC •76 Amount ofTime Working onMost Recent Documentary Without Pay GLOBAL RESPONSES Amount of Time Working onMost Recent Documentary Without Pay Global Documentary Directors andProducers TIME I spent5to10years working I spent1to5years working I spentmorethan10years I spentlessthan6months I spent6monthsto1year I waspaidtheentiretime working withoutpay working withoutpay working withoutpay without pay without pay (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 11% 40% 15% 12% 18% 4% •77 Global Documentary Directors andProducers Amount of Time Working onMost Recent Documentary Without Pay Amount of Time Working onMost Recent Documentary Without Pay Global Documentary Directors andProducers GLOBAL RESPONSES TIME TIME I spent5to10years working I spent5to10years working I spent1to5years working I spent1to5years working I spentmorethan10years I spentmorethan10years I spentlessthan6months I spent6monthsto1year I spentlessthan6months I spent6monthsto1year I waspaidtheentiretime I waspaidtheentiretime working withoutpay working withoutpay working withoutpay working withoutpay working withoutpay working withoutpay without pay without pay without pay without pay (BIPOC and White)(BIPOC (Gender Identity) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
3% 6% 13% 8% 39% 43% 16% 12% 10% 18% 19% 13% 13% 11% 37% 43% 15% 15% 15% 10% 18% 18% 3% 4% Men Women White BIPOC •78 PART 2 STATE OF THE U.S. DOCUMENTARY FIELD
Where U.S. Documentary Respondents are Located
The highest possible number of respondents for the State of the U.S. Documentary Field report is 620. The number of responses for each individual question varies based on the number of individuals who answered it. All percentages are based on the total number of respondents for a given question or total respondents for a given group in the case of the demographic breakout groups (race and gender identity). Percentages are rounded up, and thus, some rounding error is inherent in reported numbers.
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 79 U.S. RESPONSES All States Primary U.S. State of Residence STATE (All Respondents) District ofColumbia New Hampshire North Carolina Massachusetts South Carolina North Dakota Pennsylvania Rhode Island New Mexico Washington Puerto Rico New Jersey Mississippi Minnesota Tennessee Wisconsin California New York Maryland Wyoming Nebraska Kentucky Louisiana Colorado Michigan Montana Alabama Missouri Georgia Virginia Arizona Oregon Florida Hawaii Alaska Illinois Maine Idaho Texas Ohio Utah Iowa COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 1% 1% 1% 2% 2% 2% 2% 2% 2% 3% 4% 5% 23% 38% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% •80 U.S. RESPONSES
U.S. DOCUMENTARY PROFESSIONALS Demographics
Age of U.S. Documentary Professionals U.S. Documentary Professionals (All Respondents)
1% 18 to 24 12% 65+ 17% 25 to 34
33% 50 to 64
38% 35 to 49
Gender Identification of U.S. Documentary Professionals17 U.S. Documentary Professionals (All Respondents)
1% Prefer to self-describe
2% Nonbinary
35% Men
63% Women
17 Question source: Human Rights Campaign (2018), LGBTQ-Inclusive Data Collection: A Lifesaving Imperative, https://assets2.hrc.org/files/ assets/resources/HRC-LGBTQ-DataCollection-Report.pdf
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 81 U.S. RESPONSES
LGBTQ+ Orientation of U.S. Documentary Professionals18 U.S. Documentary Professionals (All Respondents)
4% Prefer not to say
16% Yes
80% No
Transgender Identity of U.S. Documentary Professionals19 U.S. Documentary Professionals (All Respondents)
1% Yes 1% Prefer not to say
98% No
18 Question source: Human Rights Campaign (2018), LGBTQ-Inclusive Data Collection: A Lifesaving Imperative, https://assets2.hrc.org/files/ assets/resources/HRC-LGBTQ-DataCollection-Report.pdf 19 Question source: Human Rights Campaign (2018), LGBTQ-Inclusive Data Collection: A Lifesaving Imperative, https://assets2.hrc.org/files/ assets/resources/HRC-LGBTQ-DataCollection-Report.pdf
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 82 U.S. RESPONSES
Race and Ethnic Identification of U.S. Documentary Professionals20 U.S. Documentary Professionals (All Respondents)
White or Caucasian or European American 75%
Asian or Asian American 12%
Hispanic or Latinx/Latina/Latino 8%
Black or African American or African 6%
Some other race, ethnicity, or origin, please specify 5% RACE
Arab or Middle Eastern or North African 3%
Prefer not to answer 2%
Indigenous or First Nations or American Indian or Alaska Native 1%
Native Hawaiian or Pacific Islander 1%
20 Question sources: Moody, C., Obear, K., Gasser, H., Cheah, S., & Fechter, T. (2013, December 5). ACPA standards for demographic questions, http://www.myacpa.org/sites/default/files/Proposal-DemographicQuestions-and-Responses-2.pdf; Rethinking and Updating Demographic Questions: Guidance to Improve Descriptions of Research Samples. Jennifer L. Hughes, Abigail A. Camden, and Tenzin Yangchen. Psi Chi Journal of Psychological Research (Fall 2016), https://cdn.ymaws.com/sites/www.psichi.org/resource/resmgr/ journal_2016/21_3Fall16JN-Hughes.pdf, 141-142.
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 83 U.S. RESPONSES
BIPOC and White: U.S. Documentary Respondents21 U.S. Documentary Professionals (All Respondents)
29% BIPOC
71% White
21 The survey allowed respondents to select from a comprehensive list of possible racial and ethnic identifications sourced to existing literature for global identification in these categories; each respondent was able to choose multiple categories. In analysis and reporting, we have collapsed categories into “BIPOC” and “White” to reveal broader patterns around equity in documentary work. In this report, when reporting for “BIPOC,” this includes individuals who indicated at least one of the following identifications: Black or African- American or African; Indigenous or First Nations or American Indian or Alaska Native; Arab or Middle Eastern or North African; Asian or Asian American; Hispanic or Latinx/Latina/Latino; Native Hawaiian or Pacific Islander. When reporting for “White,” this includes those people who identified only in this category; any respondent who selected another category in addition to “White” was categorized in the “BIPOC” category given that this study seeks to understand experience differentials between BIPOC and White documentary professionals and makers. If respondents chose to use the open-ended response option (“Some other race, ethnicity, or origin, please specify”), we re-categorized them into the appropriate categories (that is, distinct racial and ethnic identifications and also in aggregate as “BIPOC” or “White”) if the response indicated this information clearly. Responses like “human” or related were left uncategorized. Sources for these questions: Moody, C., Obear, K., Gasser, H., Cheah, S., & Fechter, T. (2013, December 5). ACPA standards for demographic questions. Retrieved from http://www.myacpa.org/sites/default/files/Proposal-DemographicQuestions-and-Responses-2. pdf; Rethinking and Updating Demographic Questions: Guidance to Improve Descriptions of Research Samples. Jennifer L. Hughes, Abigail A. Camden, and Tenzin Yangchen. Psi Chi Journal of Psychological Research (Fall 2016). https://cdn.ymaws.com/sites/www.psichi.org/ resource/resmgr/journal_2016/21_3Fall16JN-Hughes.pdf, 141-142.
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 84 U.S. RESPONSES
Disability Identification of U.S. Documentary Respondents22 U.S. Documentary Professionals (All Respondents)
3% Prefer not to say
5% Yes
92% No
Education of U.S. Documentary Respondents U.S. Documentary Professionals (All Respondents)
2% 0% Professional degree (JD, MD) Less than high school degree
20% MFA
48% Bachelor’s degree in college (4-year)
21% Master’sdegree
5% 4% High school graduate (high Doctoral degree school diploma or equivalent including GED)
22 To source this question, we consulted with a founder of Filmmakers With Disabilities (FWD-DOC), and we also consulted and utilized these sources: https://cdn.ymaws.com/sites/www.psichi.org/resource/resmgr/journal_2016/21_3Fall16JN-Hughes.pdf; BrckaLorenz, A., Zilvinskis, J., & Haeger, H. (2014, May). Categorizing identities: Race, gender, disability, and sexual orientation. Symposium conducted at the meeting of Association for Institutional Research, Orlando, FL. http://cpr.indiana.edu/uploads/Categorizing%20Identities%20Handout%20FINAL%202.pdf
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 85 U.S. RESPONSES
Most Valuable Job Training in Documentary23
Most Valuable Job Training in Documentary23 U.S. Documentary Professionals (All Respondents)
Learned on the job 57%
Self-taught 18%
Related postgraduate education 13%
Related undergraduate/college TRAINING education 5%
Attended short course of workshop 3%
Other 3%
23 Question source: Presence, S., Spicer, A., Quigley, A., Green, L. (2020). Keeping It Real: Towards a Documentary Film Policy for the UK. https://ukfd.org.uk/policy-reports/
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 86 U.S. RESPONSES
Most Valuable Job Training in Documentary U.S. Documentary Professionals (BIPOC and White)
54% BIPOC Learned on the job 58% White
18% Self-taught 18%
17% Related postgraduate education 12%
Related undergraduate/college 5% TRAINING education 6%
Attended short course of 4% workshop 3%
3% Other 3%
Most Valuable Job Training in Documentary U.S. Documentary Professionals (Gender Identity)
62% Women Learned on the job 49% Men
15% Self-taught 24%
13% Related postgraduate education 12%
Related undergraduate/college 4% TRAINING education 8%
Attended short course of 3% workshop 4%
3% Other 4%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 87 U.S. RESPONSES
Caregiving Responsibilities24
Caregivers to Adults U.S. Documentary Professionals (All Respondents)
2% Prefer not to say
28% Yes
70% No
24 Question source for both “caregiver to adult” and “caregiver to child 18 or under”: Caregiving.org/Princeton Survey Research Associates. https://www.caregiving.org/wp-content/uploads/2020/05/04questionnaire.pdf
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 88 U.S. RESPONSES
Caregivers to Adults U.S. Documentary Professionals (BIPOC and White)
No Yes Prefer not to say
BIPOC 67% 33% 0% White 71% 26% 3%
Caregivers to Adults U.S. Documentary Professionals (Gender Identity)
No Yes Prefer not to say Women
68% 31% 1% Men 75% 22% 3%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 89 U.S. RESPONSES
Caregivers to Children Under 18 U.S. Documentary Professionals (All Respondents)
2% Prefer not to say
26% Yes
72% No
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 90 U.S. RESPONSES
Caregivers to Children Under 18 U.S. Documentary Professionals (BIPOC and White)
No Yes Prefer not to say
BIPOC 67% 33% 1% White 75% 23% 2%
Caregivers to Children Under 18 U.S. Documentary Professionals (Gender Identity)
No Yes Prefer not to say Women Men 73% 27% 1% 72% 25% 3%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 91 U.S. RESPONSES
Household Wage Earner Support25
Household Wage Earner Support25 U.S. Documentary Professionals (All Respondents)
2% Prefer not to say
46% 52% Yes No
25 Question source: World Health Organization, https://www.who.int/disabilities/data/model-disability-survey.pdf?ua=1
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 92 U.S. RESPONSES
Household Wage Earner Support U.S. Documentary Professionals (BIPOC and White)
No Yes Prefer not to say
BIPOC 56% 43% 1% White 50% 48% 2%
Household Wage Earner Support U.S. Documentary Professionals (Gender Identity)
No Yes Prefer not to say Women
51% 48% 2% Men 54% 45% 1%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 93 U.S. RESPONSES Years Working inDocumentary Years Working inDocumentary U.S. Documentary Professionals Primary Positions inthe Documentary Field U.S. Documentary Professionals Primary Positions inthe Documentary Field POSITION YEARS Impact Stategist/Producer Employee ofFilm-Related Film Festival Professional Membership Services Production Assistant Archival Researcher More than20years Cinematographer Audio Technician Organization Professional Broadcaster 10-14 years 15-20 years Distributor Composer Professor Producer 0-4 years 5-9 years Director Funder Writer Editor Other (All Respondents) (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 14% 21% 20% 20% 25% 0% 0% 1% 1% 1% 1% 1% 1% 1% 2% 2% 3% 3% 3% 3% 11% 30% 37% •94 Challenges Experiences, Opportunities, and U.S. DOCUMENTARY PROFESSIONALS U.S. RESPONSES U.S. Documentary Professionals Primary Source of Income Primary Source ofIncome INCOME For-profit organization/company Educator (professororteacher) Non-profit organization(film- Non-profit organizations(not Advertising (commericials or Unscripted orrealityTV Documentary film/TV branded content) (not film-related) Scripted film/TV film-related) related) Other (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 45% 2% 2% 3% 4% 7% 11% 13% 14% •95 U.S. RESPONSES
Primary Source of Income U.S. Documentary Professionals (BIPOC and White)
44% BIPOC Documentary film / TV 45% White
10% Other 15%
Non-profit organization (film- 14% related) 12%
11% Educator (professor or teacher) 10%
Advertising (commericials or 8% branded content) 7% INCOME Non-profit organizations (not 5% film-related) 4%
For-profit organization/company 6% (not film-related) 2%
1% Unscripted or reality TV 2%
1% Scripted film/TV 2%
Primary Source of Income U.S. Documentary Professionals (Gender Identity)
47% Women Documentary film / TV 41% Men
16% Other 10%
Non-profit organization (film- 11% related) 15%
9% Educator (professor or teacher) 13%
Advertising (commericials or 6% branded content) 9% INCOME Non-profit organizations (not 4% film-related) 4%
For-profit organization/company 3% (not film-related) 4%
2% Unscripted or reality TV 2%
1% Scripted film/TV 2%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 96 U.S. RESPONSES Secondary Source of Income U.S. Documentary Professionals Secondary Source ofIncome INCOME (commericals orbranded content) For-profit organization/company No secondarysourceofincome Unscripted orrealityTV Non-profit organization Non-profit organization Documentary film/TV (professor orteacher) (not film-related) (not film-related) Scripted film/TV (film-related) Advertising Educator Other
(All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 6% 7% 13% 28% 31% 2% 3% 3% 3% 5% •97 U.S. RESPONSES
Secondary Source of Income U.S. Documentary Professionals (BIPOC and White)
31% BIPOC No secondary source of income 30% White
26% Documentary film/TV 29%
11% Other 13%
Advertising 5% (commericals or branded content) 8%
Educator 7% (professor or teacher) 6%
Non-profit organization 6% INCOME (film-related) 5%
2% Scripted film/TV 3%
For-profit organization/company 4% (not film-related) 2%
5% Unscripted or reality TV 2%
Non-profit organization 4% (not film-related) 2%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 98 U.S. RESPONSES
Secondary Source of Income U.S. Documentary Professionals (BIPOC and White)
34% Women No secondary source of income 25% Men
27% Documentary film/TV 28%
13% Other 12%
Advertising 5% (commericals or branded content) 11%
Educator 6% (professor or teacher) 6%
Non-profit organization 6% INCOME (film-related) 5%
3% Scripted film/TV 3%
For-profit organization/company 2% (not film-related) 3%
2% Unscripted or reality TV 3%
Non-profit organization 2% (not film-related) 3%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 99 Importance ofDocumentary Income toLivelihood U.S. RESPONSES Importance of Documentary Income to Livelihood Importance of Documentary Income to Livelihood Importance of Documentary Income to Livelihood U.S. Documentary Professionals U.S. Documentary Professionals U.S. Documentary Professionals IMPORTANCE IMPORTANCE IMPORTANCE I supportmyself primarilythrough I supportmyself primarilythrough I supportmyself primarilythrough Documentary isincidentaltothe Documentary isincidentaltothe Documentary isincidentaltothe Documentary isimportantinthe Documentary isimportantinthe Documentary isimportantinthe I donotdependondocumentary I donotdependondocumentary I donotdependondocumentary work atalltomake aliving work atalltomake aliving work atalltomake aliving mix ofways Imake aliving mix ofways Imake aliving mix ofways Imake aliving documentary work documentary work documentary work way Imake aliving way Imake aliving way Imake aliving (Gender Identity) and White)(BIPOC (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
42% 30% 13% 16% 33% 46% 33% 28% 13% 13% 22% 13% 41% 43% 30% 29% 14% 8% 15% 20% Men Women White BIPOC •100 Percentage ofGross Annual Income from Documentary (past year) U.S. Documentary Professionals Percentage of Gross Annual Income from Documentary U.S. Documentary Professionals Percentage of Gross Annual Income from Documentary U.S. RESPONSES U.S. Documentary Professionals Percentage of Gross Annual Income from Documentary SHARE OF DOCUMENTARY INCOME SHARE OF DOCUMENTARY INCOME SHARE OF DOCUMENTARY INCOME A gooddeal(51-75%) A gooddeal(51-75%) A gooddeal(51-75%) Not much(1-25%) Not much(1-25%) Not much(1-25%) Some (26-50%) Some (26-50%) Some (26-50%) Most (76-99%) Most (76-99%) Most (76-99%) All (100%) All (100%) All (100%) (BIPOC and White)(BIPOC (Gender Identity) (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
33% 30% 18% 9% 10% 11% 20% 23% 19% 27% 30% 31% 12% 12% 11% 11% 24% 19% 24% 27% 31% 12% 11% 22% 25% Men Women White BIPOC •101 U.S. Documentary Professionals Types of Documentaries Worked On U.S. Documentary Professionals Types of Documentaries Worked On U.S. RESPONSES U.S. Documentary Professionals Types of Documentaries Worked On Types ofDocumentaries Worked On(past two years) TYPE TYPE TYPE producer (thedirector/someone elseownsrights) producer (thedirector/someone elseownsrights) producer (thedirector/someone elseownsrights) I have notworked onadocumentaryproduction I have notworked onadocumentaryproduction I have notworked onadocumentaryproduction showrunner, seriesorothertypeofproducer showrunner, seriesorothertypeofproducer showrunner, seriesorothertypeofproducer Commissioned limitedseries-workforhire Commissioned limitedseries-work forhire Commissioned limitedseries-workforhire Commissioned limitedseries-independent Commissioned limitedseries-independent Commissioned limitedseries-independent Independent documentaries-workforhire Independent documentaries-workforhire Independent documentaries-workforhire Independent documentaries-independent Independent documentaries-independent Independent documentaries-independent producer sellingfullprojects producer sellingfullprojects producer sellingfullprojects producer (Iownrights) producer (Iownrights) producer (Iownrights) in thelast2years in thelast2years in thelast2years (BIPOC and White)(BIPOC (Gender Identity) (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 7% 5% 15% 20% 13% 9% 51% 59% 75% 64% 6% 5% 17% 20% 11% 10% 57% 55% 68% 67% 6% 18% 11% 56% 68% Men Women White BIPOC •102 U.S. Documentary Professionals Impact of COVID-19 onDocumentary Careers U.S. Documentary Professionals Impact of COVID-19 onDocumentary Careers U.S. RESPONSES Impact of COVID-19 onDocumentary Careers Impact ofCOVID-19 onDocumentary Careers U.S. Documentary Professionals COVID IMPACT COVID IMPACT COVID IMPACT COVID hasnotaffectedmeatall COVID hasnotaffectedmeatall COVID hasnotaffectedmeatall COVID hassomewhatimproved COVID hassomewhatimproved COVID hassomewhatimproved COVID hasharmedmy financial COVID hasharmedmy financial COVID hasharmedmy financial COVID hasharmedmy financial COVID hasharmedmy financial COVID hasharmedmy financial my financialstability my financialstability my financialstability stability agreatdeal stability agreatdeal stability agreatdeal stability somewhat stability somewhat stability somewhat financially financially financially (Gender Identity) and White)(BIPOC (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 4% 4% 23% 22% 41% 44% 32% 30% 4% 3% 22% 26% 43% 42% 31% 29% 4% 23% 43% 31% Men Women White BIPOC •103 U.S. Documentary Professionals Perceptions About Documentary Opportunities U.S. Documentary Professionals Perceptions About Documentary Opportunities U.S. RESPONSES Perceptions About Documentary Opportunities Perceptions aboutDocumentary Opportunities (past two years) U.S. Documentary Professionals OPPPORTUNTIES OPPPORTUNTIES OPPPORTUNTIES Great dealmoreopportunities Great dealmoreopportunities Great dealmoreopportunities Fewer opportunities Fewer opportunities Fewer opportunities More opportunities More opportunities Same opportunities Same opportunities More opportunities Same opportunities (Gender Identity) and White)(BIPOC (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 3% 22% 23% 34% 37% 40% 37% 3% 23% 24% 35% 38% 39% 37% 3% 2% 23% 36% 38% 3% Men Women White BIPOC •104 U.S. RESPONSES Most Meaningful Part of Documentary Work U.S. Documentary Professionals Most MeaningfulPart ofDocumentary Work MOTIVATION Artistry andArtisticExpression Positive ImpactonSocialIssues Independent Creative Voice Professional Community Investigative Work Other (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 5% 10% 23% 29% 47% 3% •105 U.S. Documentary Professionals Most Meaningful Part of Documentary Work U.S. Documentary Professionals Most Meaningful Part of Documentary Work U.S. RESPONSES MOTIVATION MOTIVATION Artistry andArtisticExpression Artistry andArtisticExpression Positive ImpactonSocialIssues Positive ImpactonSocialIssues Independent Creative Voice Independent Creative Voice Professional Community Professional Community Investigative Work Investigative Work Other Other (Gender Identity) and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 3% 3% 5% 6% 10% 11% 23% 24% 28% 31% 47% 47% 2% 3% 3% 6% 9% 11% 28% 21% 29% 29% 42% 51% Men Women White BIPOC •106 U.S. RESPONSES Greatest Challenge Facing Documentary Today U.S. Documentary Professionals Greatest Challenge Facing Documentary Today CHALLENGE representation indocumentary Making alivingindocumentary Getting fundingtomake Legal challengesfacing Security andsafetyfor documentary makers documentary makers Diversity, equity, and documentaries Other work (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 1% 6% 16% 35% 42% 1% •107 U.S. Documentary Professionals Greatest Challenge Facing Documentary Today U.S. Documentary Professionals Greatest Challenge Facing Documentary Today U.S. RESPONSES CHALLENGE CHALLENGE representation indocumentary representation indocumentary Making alivingindocumentary Making alivingindocumentary Getting fundingtomake Getting fundingtomake Legal challengesfacing Legal challengesfacing Security andsafetyfor Security andsafetyfor documentary makers documentary makers documentary makers documentary makers Diversity, equity, and Diversity, equity, and documentaries documentaries Other Other work work (Gender Identity) and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 1% 1% 1% 2% 5% 7% 12% 24% 38% 29% 44% 37% 2% 0% 1% 1% 8% 4% 13% 16% 37% 36% 40% 43% Men Women White BIPOC •108 This graph depicts the percentage of respondents who answered “a great opportunity”for eachresponse (instead of “not muchof or anopportunity” “an opportunity”). U.S. RESPONSES Format &Distribution: Perceptions of Greatest Future Opportunity U.S. Documentary Professionals Format &Distribution: Perceptions ofGreatest Future Opportunity A GREAT OPPORTUNITY Non-theatrical VirtualScreenings Theatrical Dist.(Physical) Theatrical Dist.(Virtual) Grassroots/Community Short-form Streaming Feature-length docs Festivals (Physical) Festivals (Virtual) Short-form Docs Interactive Docs Streaming Dist. Social Media Screenings Podcasts TV Dist. Series (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
14% 55% 37% 39% 30% 31% 32% 23% 20% 19% 49% 25% 17% 7% 10% •109 U.S. RESPONSES
Format & Distribution: Perceptions of Greatest Future Opportunity U.S. Documentary Professionals (BIPOC and White)
28% BIPOC Podcasting 31% White
41% Short-form documentaries 39%
31% Feature-length documentaries 39%
51% Documentary series 56%
16% Short-form streaming 13%
Social media 37% (Facebook, Instagram, TikTok) 29%
Interactive documentary 18% (including VR) 7%
Theatrical distribution 8% (physical, not festival) 6%
Theatrical distribution 20% (virtual, not festival) A GREAT OPPORTUNITY GREAT A 16%
TV distribution 25% (broadcast, cable) 25%
44% Streaming networks distribution 51%
Film festivals 21% (physical) 18%
Film festivals 27% (virtual/online) 18%
Non-theatrical virtual screenings 33% (museums, book stores, arts, and cultural organizations) 20%
Grassroots/community 39% screenings 30%
This graph depicts the percentage of respondents who answered “a great opportunity” for each response (instead of “not much of an opportunity” or “an opportunity”).
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 110 U.S. RESPONSES
Format & Distribution: Perceptions of Greatest Future Opportunity U.S. Documentary Professionals (Gender Identity)
32% Women Podcasting 28% Men
38% Short-form documentaries 42%
36% Feature-length documentaries 39%
55% Documentary series 54%
15% Short-form streaming 11%
Social media 34% (Facebook, Instagram, TikTok) 27%
Interactive documentary 12% (including VR) 7%
Theatrical distribution 6% (physical, not festival) 9%
Theatrical distribution 18% (virtual, not festival) A GREAT OPPORTUNITY GREAT A 15%
TV distribution 26% (broadcast, cable) 23%
51% Streaming networks distribution 48%
Film festivals 19% (physical) 20%
Film festivals 20% (virtual/online) 20%
Non-theatrical virtual screenings 24% (museums, book stores, arts, and cultural organizations) 23%
Grassroots/community 34% screenings 29%
This graph depicts the percentage of respondents who answered “a great opportunity” for each response (instead of “not much of an opportunity” or “an opportunity”).
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 111 This graph depicts the percentage of respondents who answered “a great opportunity”for eachresponse (instead of “not muchof or anopportunity” “an opportunity”). U.S. RESPONSES Economic Streams: Perceptions of Positive Future Opportunity U.S. Documentary Professionals Economic Streams: Perceptions ofPositive Future Opportunity A GREAT OPPORTUNITY Funding fromcorporate sources Funding fromrecoupablegrants Commissioned wordfromfilm Funding fromfoundationand nonprofit grants andsources Subscription-based funding Shared advertising revenue Commissioned wordfrom Commissioned workfrom nonprofit organizations studios orTVnetworks Investment financing for-profit companies (non-recoupable) Crowd-funding
(All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
6% 8% 14% 9% 5% 5% 12% 14% 21% 6% •112 This graph depicts the percentage of respondents who answered “a great opportunity”for eachresponse (instead of “not muchof or anopportunity” “an opportunity”). U.S. RESPONSES Economic Streams: Perceptions of Positive Future Opportunity U.S. Documentary Professionals A GREAT OPPORTUNITY Funding fromcorporate sources Funding fromrecoupablegrants Commissioned wordfromfilm Funding fromfoundationand nonprofit grants andsources Subscription-based funding Shared advertising revenue Commissioned wordfrom Commissioned workfrom nonprofit organizations studios orTVnetwork Investment financing for-profit companies (non-recoupable) Crowd-funding
(BIPOC and White)(BIPOC COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
17% 21% 21% 6% 6% 7% 10% 6% 8% 13% 17% 7% 15% 4% 8% 2% 10% 10% 14% 13% White BIPOC •113 This graph depicts the percentage of respondents who answered “a great opportunity”for eachresponse (instead of “not muchof or anopportunity” “an opportunity”). U.S. RESPONSES Economic Streams: Perceptions of Positive Future Opportunity U.S. Documentary Professionals A GREAT OPPORTUNITY Funding fromcorporate sources Funding fromrecoupablegrants Commissioned wordfromfilm Funding fromfoundationand nonprofit grants andsources Subscription-based funding Shared advertising revenue Commissioned wordfrom Commissioned workfrom nonprofit organizations studios orTVnetwork Investment financing for-profit companies (non-recoupable) Crowd-funding
(Gender Identity) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
15% 19% 22% 5% 6% 6% 9% 5% 7% 11% 17% 12% 8% 5% 5% 4% 5% 11% 12% 12% Men Women •114 Experience and Motivations U.S. DOCUMENTARY MAKERS U.S. RESPONSES Documentaries Produced ThusFar U.S. Documentary Directors andProducers Documentaries Produced Thus Far FILMS (half-hour, hourorfeaturelength) More than10full-lengthfilms 1 ormorevery short-form 1 ormorevery short-form 5-10 full-lengthfilms 2-4 full-lengthfilms (10-20minutes) 1 full-lengthfilm (1-9 minutes)
(All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 9% 5% 11% 21% 32% 22% •115 U.S. RESPONSES U.S. Documentary Directors andProducers Documentaries Produced Thus Far U.S. Documentary Directors andProducers Documentaries Produced Thus Far FILMS FILMS (half-hour, hourorfeaturelength) (half-hour, hourorfeaturelength) More than10full-lengthfilms More than10full-lengthfilms 1 ormorevery short-form 1 ormorevery short-form 1 ormorevery short-form 1 ormorevery short-form 5-10 full-lengthfilms 5-10 full-lengthfilms 2-4 full-lengthfilms 2-4 full-lengthfilms (10-20minutes) (10-20minutes) 1 full-lengthfilm 1 full-lengthfilm (1-9 minutes) (1-9 minutes)
(Gender Identity) and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 14% 5% 25% 9% 33% 29% 20% 30% 6% 18% 4% 9% 14% 10% 21% 21% 30% 34% 23% 22% 8% 8% 4% 5% Men Women White BIPOC •116 Documentary Length (most recent film) U.S. RESPONSES Documentary Length of Most Recent Film U.S. Documentary Directors andProducers LENGTH Half-hour (or 22-30minutes) Very short(2-9minutes) Hour (or 44-60minutes) (theatrical, 90minutes) Short (10-20minutes) Multi-part series Feature-length
(All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 51% 17% 9% 9% 7% 7% •117 U.S. RESPONSES Documentary Length of Most Recent Film Documentary Length of Most Recent Film U.S. Documentary Directors andProducers U.S. Documentary Directors andProducers LENGTH LENGTH Half-hour (or 22-30minutes) Half-hour (or 22-30minutes) Very short(2-9minutes) Very short(2-9minutes) Hour (or 44-60minutes) Hour (or 44-60minutes) (theatrical, 90minutes) (theatrical, 90minutes) Short (10-20minutes) Short (10-20minutes) Multi-part series Multi-part series Feature-length Feature-length
(Gender Identity) and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 7% 8% 54% 42% 18% 14% 8% 13% 7% 17% 6% 8% 9% 6% 48% 54% 19% 16% 9% 10% 8% 8% 8% 6% Men Women White BIPOC •118 Documentary Format (most recent film) U.S. Documentary Directors andProducers Documentary Format of Most Recent Film U.S. Documentary Directors andProducers Documentary Format of Most Recent Film U.S. RESPONSES U.S. Documentary Directors andProducers Documentary Format of Most Recent Film FORMAT FORMAT FORMAT Interactive (notvirtualreality) Interactive (notvirtualreality) Interactive (notvirtualreality) Traditional linear Traditional linear Traditional linear Virtual reality Virtual reality Virtual reality (Gender Identity) and White)(BIPOC (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 95% 1% 2% 2% 3% 97% 95% 1% 3% 3% 3% 97% 1% 3% 96% Men Women White BIPOC •119 How Long Does itTake toMake aDocumentary? Amount of Time Spent Making Most Recent Documentary Amount of Time Spent Making Most Recent Documentary U.S. Documentary Directors andProducers U.S. Documentary Directors andProducers U.S. RESPONSES Amount of Time Spent Making Most Recent Documentary U.S. Documentary Directors andProducers TIME TIME TIME More than10years More than10years More than10years Less than6months Less than6months Less than6months 6 monthsto1year 6 monthsto1year 6 monthsto1year 5-10 years 5-10 years 5-10 years 1-5 years 1-5 years 1-5 years (Gender Identity) and White)(BIPOC (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
0% 4% 22% 21% 57% 58% 15% 14% 7% 4% 2% 4% 22% 18% 58% 52% 13% 19% 4% 8% 2% 21% 57% 15% 5% Men Women White BIPOC •120 Entertainment Stories Documentary Makers’ Self-Descriptions: SocialIssue vs. Pure U.S. Documentary Directors andProducers Social Issue or Pure Entertainment U.S. Documentary Directors andProducers Social Issue or Pure Entertainment U.S. RESPONSES U.S. Documentary Directors andProducers Social Issue or Pure Entertainment DESCRIPTION DESCRIPTION DESCRIPTION Social issueadvocate filmmaker Social issueadvocate filmmaker Social issueadvocate filmmaker Entertainment storytelling Entertainment storytelling Entertainment storytelling Investigative filmmaker Investigative filmmaker Investigative filmmaker filmmaker filmmaker filmmaker (Gender Identity) and White)(BIPOC (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 8% 8% 43% 25% 49% 67% 8% 5% 35% 23% 57% 72% 8% 32% 61% Men Women White BIPOC •121 U.S. Documentary Directors andProducers Social Change Motivation with Documentary U.S. Documentary Directors andProducers Social Change Motivation with Documentary U.S. RESPONSES (Making SocialImpactasDriving Motivation) Documentary Makers’ SocialChange Motivations U.S. Documentary Directors andProducers Social Change Motivation with Documentary IMPACT ON SOCIAL ISSUES IMPACT ON SOCIAL ISSUES IMPACT ON SOCIAL ISSUES A primarymotivation A primarymotivation A primarymotivation A minormotivation A minormotivation A minormotivation Not motivation Not motivation Not motivation A motivation A motivation A motivation (Gender Identity) and White)(BIPOC (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
47% 59% 40% 36% 10% 4% 3% 2% 53% 60% 38% 34% 7% 4% 2% 3% 55% 37% 6% 2% Men Women White BIPOC •122 Film Licensing Experience for Most Recent Films U.S. Documentary Directors andProducers Film Licensing Experience for Most Recent Films U.S. Documentary Directors andProducers Documentary inthe U.S. The Business and Distribution of U.S. DOCUMENTARY MAKERS U.S. RESPONSES U.S. Documentary Directors andProducers Film Licensing Experience for Most Recent Films Who Sells orLicenses Documentaries for Distribution? IMPACT ON SOCIAL ISSUES IMPACT ON SOCIAL ISSUES IMPACT ON SOCIAL ISSUES This filmdidnotgetsold/licensed This filmdidnotgetsold/licensed This filmdidnotgetsold/licensed (it wasself-distributed) (it wasself-distributed) (it wasself-distributed) Some otherway Some otherway Some otherway Sales Agent Sales Agent Sales Agent Myself Myself Myself (Gender Identity) and White)(BIPOC (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
21% 18% 10% 23% 17% 21% 52% 38% 18% 25% 17% 23% 23% 8% 43% 44% 19% 43% 18% 19% Men Women White BIPOC •123 U.S. RESPONSES U.S. Documentary Directors andProducers Distribution for Most Recent Film How Filmmakers’ Most Recent Documentaries Were Distributed DISTRIBUTION International television broadcast(streaming Theatrical distribution(physical, notfestival) Non-theatrical virtualscreenings(museums, Theatrical distribution(virtual,notfestivals) Cable orsatellitevideoondemandservice Transactional streamingvideoondemand (ex: bookingsby collegeandothergroups Subscription streamingvideoondemand Premium television (ex: HBO, Showtime) books stories,andcultural organizations Cable television (ex: CNN,Discovery) Educational distribution(streaming) Grassroots &communityscreenings (ex: TimeWarner, DIRECTV, DISH) Corporate sponsorshiporlicensin (ex: iTunes, Amazon,VHX,Vimeo) DVD sales(other, noteducational News brand (ex: NewYork Times, (ex: Instagram, Facebook,TikTok) Short-form streamingplatform Educational distribution(DVD) (ex: nationalorlocalaffiliates) NGO sponsorshiporlicensing (including branded content) Film festival(virtual/online) (ex: Netflix,AmazonPrime) Film festival(physical) Social mediaplatform Atlantic, Guardian) Public television (ex: Quibi) or online) Other
(All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 9% 33% 54% 40% 7% 20% 35% 63% 12% 4% 7% 1% 3% 3% 28% 34% 34% 5% 31% 27% 18% 6% •124 U.S. RESPONSES U.S. Documentary Directors andProducers Distribution for Most Recent Film DISTRIBUTION Cable orsatellitevideoondemandservice(ex: Transactional streamingvideoondemand(ex: Theatrical distribution(physical, notfestival) Non-theatrical virtualscreenings(museums, Theatrical distribution(virtual,notfestivals) (ex: bookingsby collegeandothergroups Subscription streamingvideoondemand Premium television (ex: HBO, Showtime) books stories,andcultural organizations Cable television (ex: CNN,Discovery) Educational distribution(streaming) Grassroots &communityscreenings International television broadcast Corporate sponsorshiporlicensin DVD sales(other, noteducational News brand (ex: NewYork Times, (ex: Instagram, Facebook,TikTok) Short-form streamingplatform Educational distribution(DVD) Time Warner, DIRECTV, DISH) (ex: nationalorlocalaffiliates) NGO sponsorshiporlicensing iTunes, Amazon,VHX,Vimeo) (including branded content) Film festival(virtual/online) (ex: Netflix,AmazonPrime) Film festival(physical) Social mediaplatform (streaming oronline) Atlantic, Guardian) Public television (ex: Quibi) Other
(BIPOC and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 6% 34% 35% 56% 45% 40% 39% 8% 5% 24% 8% 32% 44% 63% 58% 12% 12% 4% 5% 6% 10% 0% 1% 3% 5% 3% 3% 33% 14% 35% 30% 36% 28% 6% 4% 35% 19% 25% 13% 19% 18% 4% 3% 9% White BIPOC •125 U.S. RESPONSES U.S. Documentary Directors andProducers Distribution for Most Recent Film DISTRIBUTION Theatrical distribution(physical, notfestival) Non-theatrical virtualscreenings(museums, Theatrical distribution(virtual,notfestivals) Cable orsatellitevideoondemandservice Transactional streamingvideoondemand (ex: bookingsby collegeandothergroups Subscription streamingvideoondemand Premium television (ex: HBO, Showtime) books stories,andcultural organizations Cable television (ex: CNN,Discovery) Educational distribution(streaming) Grassroots &communityscreenings Corporate sponsorshiporlicensing (ex: TimeWarner, DIRECTV, DISH) International television broadcast (ex: iTunes, Amazon,VHX,Vimeo) DVD sales(other, noteducational News brand (ex: NewYork Times, (ex: Instagram, Facebook,TikTok) Short-form streamingplatform Educational distribution(DVD) (ex: nationalorlocalaffiliates) NGO sponsorshiporlicensing (including branded content) Film festival(virtual/online) (ex: Netflix,AmazonPrime) Film festival(physical) Social mediaplatform (streaming oronline) Atlantic, Guardian) Public television (ex: Quibi) Other
(Gender Identity)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 4% 7% 9% 34% 33% 49% 57% 35% 44% 8% 7% 21% 20% 32% 37% 58% 65% 8% 14% 2% 6% 8% 6% 0% 1% 4% 3% 2% 4% 34% 26% 32% 36% 35% 33% 6% 5% 35% 29% 25% 29% 19% 19% 9% Men Women •126 This graph depicts the percentage of respondents who answered “Ihave produced this already andplan to in future.”the U.S. RESPONSES U.S. Documentary Directors andProducers Film Format Plansfor theFuture (Already Produced +PlantoProduce inthe Future) Documentary Format Plansfor the Future HAVE AND CONTINUE Multi-part documentaryseries Virtual reality/interactive (sponsored by anonprofit) (sponsored by acompany) Short-form docuemtaries Web-only documentaries Branded documentaries Branded documentaries Scripted filmsorTV TV commercials documentaries Podcasts Other (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
29% 31% 35% 68% 19% 20% 5% 7% 9% 14% •127 U.S. RESPONSES
Film Format Plans for the Future U.S. Documentary Directors and Producers (BIPOC and White)
81% BIPOC Short-form documentaries 63% White
39% Web-only documentaries 33%
Branded documentaries 32% (sponsored by a nonprofit) 31%
32% Multi-part documentary series 28%
Branded documentaries 23% (sponsored by a company) 19%
19% Scripted films or TV 18% HAVE AND CONTINUE HAVE 13% TV commercials 14%
6% Podcasts 10%
1% Other 9%
Virtual reality/interactive 6% documentaries 6%
This graph depicts the percentage of respondents who answered “I have produced this already and plan to in the future.”
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 128 U.S. RESPONSES
Film Format Plans for the Future U.S. Documentary Directors and Producers (Gender Identity)
65% Women Short-form documentaries 70% Men
29% Web-only documentaries 44%
Branded documentaries 32% (sponsored by a nonprofit) 28%
28% Multi-part documentary series 31%
Branded documentaries 21% (sponsored by a company) 18%
17% Scripted films or TV 21% HAVE AND CONTINUE HAVE 11% TV commercials 18%
11% Podcasts 7%
4% Other 10%
Virtual reality/interactive 4% documentaries 5%
This graph depicts the percentage of respondents who answered “I have produced this already and plan to in the future.”
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 129 U.S. RESPONSES U.S. Documentary Directors andProducers Distribution Future Plans HAVE AND CONTINUE Transactional StreamingVideoonDemand Short-Form StreamingPlatform(ex: Quibi) Public Television/Media (ex: National PBS, Subscription StreamingVideoonDemand Grassroots &CommunityScreenings(ex: Bookings by CollegesandOtherGroups) Cable Television (ex: CNN,Discovery) Educational Distribution(Streaming) Corporate SponsorshiporLicensing Cable orSatelliteVideoonDemand DVD Sales(Other, NotEducational) International Television Broadcast Non-Theatrical VirtualScreenings (ex: iTunes, Amazon,VHX,Vimeo) Educational Distribution(DVD) (ex: Instagram, Twitter, TikTok) NGO SponsorshiporLicensing Film Festivals (Virtual/Online) Premium CableTelevision Film Festivals (Physical) Theatrical Distribution Theatrical Distribution (Physical, notFestival) Social MediaPlatform (ex: HBO, Showtime) (Virtual, notFestival) Local PBS,POV) Other
(All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 1% 2% 12% 12% 49% 51% 52% 55% 59% 73% 80% 13% 15% 18% 19% 27% 39% 41% 42% 42% 44% •130 U.S. RESPONSES
Distribution Future Plans U.S. Documentary Directors and Producers (BIPOC and White)
74% BIPOC Film Festivals (Physical) 82% White Grassroots & Community Screenings (ex: 68% Bookings by Colleges and Other Groups) 75%
Public Television/Media (ex: National PBS, 55% Local PBS, POV) 60% 52% Non-Theatrical Virtual Screenings 57% 42% Educational Distribution (Streaming) 55%
Transactional Streaming Video on Demand 34% (ex: iTunes, Amazon, VHX, Vimeo) 58% 36% Educational Distribution (DVD) 54% 30% DVD Sales (Other, Not Educational) 49% 48% Film Festivals (Virtual/Online) 39% 34% International Television Broadcast 45%
Theatrical Distribution 25% (Physical, Not Festival) 47% 21% Subscription Streaming Video on Demand
HAVE AND CONTINUE HAVE 45% 16% Cable Television (ex: CNN, Discovery) 31%
Theatrical Distribution 14% (Virtual, Not Festival) 20%
Premium Cable Television 8% (ex: HBO, Showtime) 21% 9% Cable or Satellite Video on Demand 18% 9% Corporate Sponsorship or Licensing 15% 16% NGO Sponsorship or Licensing 11%
Social Media Platform 16% (ex: Instagram, Twitter, TikTok) 11% 1% Short-Form Streaming Platform (ex: Quibi) 2% 3% Other 0%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 131 U.S. RESPONSES
Distribution Future Plans Women U.S. Documentary Directors and Producers (Gender Identity) Men 83% Film Festivals (Physical) 75%
Grassroots & Community Screenings (ex: 78% Bookings by Colleges and Other Groups) 68%
Public Television (ex: National or Local 58% PBS, POV) 60% 58% Non-Theatrical Virtual Screenings 52% 54% Educational Distribution (Streaming) 49%
Transactional Streaming Video on Demand 49% (ex: iTunes, Amazon, VHX, Vimeo) 56% 53% Educational Distribution (DVD) 45% 44% DVD Sales (Other, Not Educational) 45% 44% Film Festivals (Virtual/Online) 38% 44% International Television Broadcast, 40%
Theatrical Distribution 46% (Physical, not Festival) 35% 43% Subscription Streaming Video on Demand 33% HAVE AND CONTINUE HAVE 27% Cable Television (ex: CNN, Discovery) 27%
Theatrical Distribution 20% (Virtual, not Festival) 17%
Premium Cable Television 19% (ex: HBO, Showtime) 17% 15% Cable or Satellite Video on Demand 18% 15% Corporate Sponsorship or Licensing 12% 13% NGO Sponsorship or Licensing 12%
Social Media Platform 9% (ex: Instagram, Twitter, TikTok) 17% 2% Short-Form Streaming Platform (ex: Quibi) 3% 1% Other 0%
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 132 U.S. RESPONSES Community Screenings for Most Recent Film U.S. Documentary Directors andProducers Community Screenings for Most Recent Film U.S. Documentary Directors andProducers Community Screenings for Most Recent Documentaries Community Screenings for Most Recent Film U.S. Documentary Directors andProducers SCREENINGS SCREENINGS SCREENINGS Yes Yes Yes No No No (All Respondents) (Gender Identity) (BIPOC and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 73% 27% 69% 76% 31% 24% 27% 25% 73% 75% Men Women White BIPOC •133 U.S. Documentary Directors andProducers Work with Impact Producer for Most Recent Film U.S. RESPONSES Work with Impact Producer for Most Recent Film Work with Impact Producer for Most Recent Film U.S. Documentary Directors andProducers U.S. Documentary Directors andProducers Collaboration with ImpactProducers IMPACT IMPACT IMPACT PRODUCER PRODUCER PRODUCER Yes Yes Yes No No No (Gender Identity) (BIPOC and White)(BIPOC (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
23% 30% 77% 71% 72% 77% 27% 73% 28% 23% Men Women White BIPOC •134 U.S. RESPONSES Leveraging Fair Use inMost Recent Film Filmmakers’ Utilization ofFair Use inMost Recent Documentaries U.S. Documentary Directors andProducers Leveraging Fair Use inMost Recent Film U.S. Documentary Directors andProducers Leveraging Fair Use inMost Recent Film U.S. Documentary Directors andProducers FAIR USE FAIR USE FAIR USE Not Sure Not Sure Not Sure Yes Yes Yes No No No (Gender Identity) and White)(BIPOC (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 3% 5% 27% 14% 80% 65% 4% 19% 76% 71% 81% 3% 8% 16% 28% Men Women White BIPOC •135 Main Source ofFunding for Most Recent Documentary Filmmaking inthe U.S. The Economics ofDocumentary U.S. DOCUMENTARY MAKERS U.S. RESPONSES Main Source of Funding for Most Recent Film U.S. Documentary Directors andProducers MAIN FUNDING SOURCE News Brand (ex: NewYork Times, Broadcast TVNetwork(ex: PBS, Short-Form StreamingNetwork Grants (Non-Recoupablefrom Facebook, Instagram, TikTok) Cable TVNetwork(ex: HBO, Individual Investments tobe Repaid (notcrowdsourced) Foundations, Government, Social MediaNetwork(ex: Film Studio(ex: Sony, Fox) (includes spousalincome) Non-Profit Organization Academic Institution NBC, ABC,Fox, CBS) (ex: Netflix,Amazon) (Not crowdsourced) Household Finances Streaming Network Recoupable Grants (Your OwnMoney) Atlantic, Guardian) Personal Finances Coporate Funding Individual Donors Discovery, CNN)) (ex: Kickstarter) Crowd Funding (not academic) NonProfit) (ex: Quibi)
(All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 8% 30% 8% 23% 11% 5% 3% 3% 1% 4% 7% 6% 16% 1% 1% 16% 4% •136 U.S. RESPONSES Main Source of Funding for Most Recent Film U.S. Documentary Directors andProducers MAIN FUNDING SOURCE News Brand (ex: NewYork Times, Broadcast TVNetwork(ex: PBS, Crowd Funding (ex: Kickstarter) Short-Form StreamingNetwork Grants (Non-Recoupablefrom Facebook, Instagram, TikTok) Cable TVNetwork(ex: HBO, Individual Investments tobe Repaid (notcrowdsourced) Foundations, Government, Social MediaNetwork(ex: Film Studio(ex: Sony, Fox) (includes spousalincome) Non-Profit Organization (Not CrowdSourced) Academic Institution NBC, ABC,Fox, CBS) (ex: Netflix,Amazon) Household Finances Streaming Network Recoupable Grants Corporate Funding Atlantic, Guardian) (Your OwnMoney) Personal Finances Individual Donors Discovery, CNN) (not academic) Nonprofit) (ex: Quibi)
(BIPOC and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 5% 3% 1% 4% 1% 3% 1% 27% 41% 8% 6% 23% 23% 1% 3% 5% 1% 7% 6% 6% 5% 17% 12% 1% 0% 1% 1% 8% 6% 7% 1% 9% 17% 5% White BIPOC •137 U.S. RESPONSES Main Source of Funding for Most Recent Film U.S. Documentary Directors andProducers MAIN FUNDING SOURCE News Brand (ex: NewYork Times, Broadcast TVNetwork(ex: PBS, Crowd Funding (ex: Kickstarter) Short-Form StreamingNetwork Grants (Non-Recoupablefrom Facebook, Instagram, TikTok) Cable TVNetwork(ex: HBO, Individual Investments tobe Repaid (notcrowdsourced) Foundations, Government, Social MediaNetwork(ex: Film Studio(ex: Sony, Fox) (includes spousalincome) Non-Profit Organization Academic Institution NBC, ABC,Fox, CBS) (ex: Netflix,Amazon) (not crowdsourced) Streaming Network Recoupable Grants Corporate Funding Household Finaces Atlantic, Guardian) (Your OwnMoney) Personal Finances Individual Donors Discovery, CNN) (not academic) Nonprofit) (ex: Quibi)
(Gender Identity)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 4% 3% 3% 3% 4% 2% 3% 30% 31% 4% 9% 24% 22% 1% 2% 4% 4% 7% 8% 4% 7% 10% 20% 0% 1% 1% 2% 6% 9% 3% 7% 11% 10% 7% Men Women •138 Amount ofPersonal Money SpentMaking Most Recent Documentary U.S. Documentary Directors andProducers Amount of Personal Money Spent Making Most Recent Documentary U.S. Documentary Directors andProducers Amount of Personal Money Spent Making Most Recent Documentary U.S. RESPONSES Amount of Personal Money Spent Making Most Recent Documentary U.S. Documentary Directors andProducers MONEY MONEY MONEY $20,000 -$49,999 $20,000 -$49,999 $20,000 -$49,999 $5,000 -$19,999 $5,000 -$19,999 $5,000 -$19,999 $50,000 orMore $50,000 orMore $50,000 orMore $501 -$,4,999 $501 -$4,999 $501 -$4,999 $500 orLess $500 orLess $500 orLess (BIPOC and White)(BIPOC (Gender Identity) (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
16% 13% 10% 10% 24% 22% 17% 23% 33% 31% 15% 10% 11% 9% 22% 27% 17% 32% 35% 23% 14% 11% 23% 21% 32% Men Women White BIPOC •139 Documentary Revenue from Most Recent Film Documentary Revenue for Most Recent Film Documentary Revenue for Most Recent Film U.S. Documentary Professionals U.S. Documentary Professionals U.S. RESPONSES Documentary Revenue for Most Recent Film U.S. Documentary Professionals REVENUE REVENUE REVENUE The filmdidnotmake any revenue The filmdidnotmake any revenue The filmdidnotmake any revenue The filmmadeenoughrevenue to The filmmadeenoughrevenue to The filmmadeenoughrevenue to to cover unpaidproductioncosts to cover unpaidproductioncosts to cover unpaidproductioncosts The filmmadeenoughrevenue The filmmadeenoughrevenue The filmmadeenoughrevenue cover unpaidproductioncosts cover unpaidproductioncosts cover unpaidproductioncosts and make aprofit and make aprofit and make aprofit (Gender Identity) and White)(BIPOC (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 24% 18% 41% 41% 35% 42% 20% 18% 44% 27% 35% 55% 20% 40% 40% Men Women White BIPOC •140 U.S. RESPONSES
Main Source of Revenue From Most Recent Film U.S. Documentary Directors and Producers (All Respondents) Subscription Streaming Video on Demand (example: Netflix) 10%
Educational distribution (DVD) 9%
Educational distribution (streaming) 8%
Public television (example: national PBS, local 7% PBS, Independent Lens, POV)
DVD sales (other, not educational) 6%
Theatrical distribution 5% (physical, not festival)
Grassroots & community screenings 5% (ex: bookings by colleges and other groups)
Cable television (example: CNN, Discovery, A&E) 5%
Transactional Streaming Video on Demand 5% (examples: iTunes, Amazon, VHX, Vimeo)
Speaking engagements 5%
International television broadcast 4%
Premium cable television (example: HBO, 3% Showtime) MAIN SOURCE
Non-theatrical virtual screenings (museums, 2% bookstores, arts, and cultural organizations)
Non-governmental organization (NGO) sponsorship or licensing 2%
News brand (ex: New York Times, Atlantic) 2%
Theatrical distribution 1% (virtual, not festival)
Cable or Satellite Video on Demand service 1% (example: Time Warner, DIRECTV, DISH)
Corporate sponsorship or licensing 1%
Short-form streaming network (ex: Quibi) 1%
Social media network (ex: Facebook, TikTok, 1% Instagram)
Film festivals 0% (physical)
Film festivals 0% (virtual/online)
This graph depicts the percentage of respondents who answered “main source of documentary revenue” for each option.
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 141 U.S. RESPONSES
Main Source of Revenue From Most Recent Film U.S. Documentary Directors and Producers (All Respondents)
Subscription Streaming Video on Demand 1% BIPOC (example: Netflix) 12% White
Educational distribution 7% (DVD) 10%
7% Educational distribution (streaming) 9%
Public television (example: national PBS, local 9% PBS, Independent Lens, POV) 6%
3% DVD sales (other, not educational) 7%
Theatrical distribution 7% (physical, not festival) 4%
Grassroots & community screenings 5% (ex: bookings by colleges and other groups) 5%
Cable television 3% (example: CNN, Discovery, A&E) 6%
Transactional Streaming Video on Demand 1% (examples: iTunes, Amazon, VHX, Vimeo) 6%
Speaking engagements 5% 5%
3% International television broadcast 5%
Premium cable television (example: HBO, 0% Showtime)
MAIN SOURCE 4%
Non-theatrical virtual screenings (museums, 1% bookstores, arts, and cultural organizations) 3%
Non-governmental organization (NGO) 3% sponsorship or licensing 1%
News brand (ex: New York Times, Atlantic) 1% 2%
Theatrical distribution 0% (virtual, not festival) 2%
Cable or Satellite Video on Demand service 0% (example: Time Warner, DIRECTV, DISH) 1%
Corporate sponsorship or licensing 1% 1%
1% Short-form streaming network (ex: Quibi) 1%
Social media network (ex: Facebook, TikTok, 3% Instagram) 1%
Film festivals 0% (physical) 1%
Film festivals 0% (virtual/online) 1%
This graph depicts the percentage of respondents who answered “main source of documentary revenue” for each option.
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 142 U.S. RESPONSES
Main Source of Revenue From Most Recent Film U.S. Documentary Directors and Producers (Gender Identity) Subscription Streaming Video on Demand 9% Women (example: Netflix) 11% Men
Educational distribution 7% (DVD) 13%
7% Educational distribution (streaming) 11%
Public television (example: national PBS, local 7% PBS, Independent Lens, POV) 8%
5% DVD sales (other, not educational) 8%
Theatrical distribution 6% (physical, not festival) 4%
Grassroots & community screenings 5% (ex: bookings by colleges and other groups) 6% Cable television 5% (example: CNN, Discovery, A&E) 6%
Transactional Streaming Video on Demand 3% (examples: iTunes, Amazon, VHX, Vimeo) 8%
4% Speaking engagements 7%
2% International television broadcast 9%
Premium cable television (example: HBO, 4% Showtime) 2% MAIN SOURCE
Non-theatrical virtual screenings (museums, 2% bookstores, arts, and cultural organizations) 4% Non-governmental organization (NGO) 2% sponsorship or licensing 2%
2% News brand (ex: New York Times, Atlantic) 2%
Theatrical distribution 1% (virtual, not festival) 2%
Cable or Satellite Video on Demand service 1% (example: Time Warner, DIRECTV, DISH) 1%
1% Corporate sponsorship or licensing 2%
1% Short-form streaming network (ex: Quibi) 1%
Social media network (ex: Facebook, TikTok, 1% Instagram) 2%
Film festivals 1% (physical) 0%
Film festivals 0% (virtual/online) 1%
This graph depicts the percentage of respondents who answered “main source of documentary revenue” for each option.
COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS • 143 U.S. RESPONSES Main Source of Income from Most Recent Film Main Source ofIncome from Most Recent Film U.S. Documentary Directors andProducers MAIN INCOME SOURCE Production company feespaidout Recoupment ofpersonalfinancing Paid fromProducer’slineitemin Paid fromProducer’slineitemin Paid fromDirector’slineitemin Paid fromDirector’slineitemin Net profitparticipantfromfilm Speaking orappearance fees the outreach/impactbudget the outreach/impactbudget associated withthefilm to company principles producer ordirector) (money putinby the filmbudget the filmbudget sales revenue
(All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 2% 20% 4% 28% 6% 6% 5% 5% •144 U.S. RESPONSES U.S. Documentary Directors andProducers Main Source of Income from Most Recent Film U.S. Documentary Directors andProducers Main Source of Income from Most Recent Film MAIN INCOME SOURCE MAIN INCOME SOURCE Production company feespaidout Recoupment ofpersonalfinancing Production company feespaidout Recoupment ofpersonalfinancing Paid fromProducer’slineitemin Paid fromProducer’slineitemin Paid fromProducer’slineitemin Paid fromProducer’slineitemin Paid fromDirector’slineitemin Paid fromDirector’slineitemin Paid fromDirector’slineitemin Paid fromDirector’slineitemin Net profitparticipantfromfilm Net profitparticipantfromfilm Speaking orappearance fees Speaking orappearance fees the outreach/impactbudget the outreach/impactbudget the outreach/impactbudget the outreach/impactbudget associated withthefilm associated withthefilm to company principles to company principles producer ordirector) producer ordirector) (money putinby (money putinby the filmbudget the filmbudget the filmbudget the filmbudget sales revenue sales revenue
(Gender Identity) (BIPOC and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 8% 5% 8% 5% 7% 5% 11% 1% 3% 1% 27% 17% 4% 3% 30% 27% 5% 8% 6% 4% 5% 3% 2% 1% 21% 20% 5% 0% 30% 24% 7% 3% Men Women •145 White BIPOC Salary From Most Recent Documentary Salary From Most Recent Documentary U.S. Documentary Directors andProducers U.S. Documentary Directors andProducers U.S. Documentary Directors andProducers Salary From Most Recent Documentary U.S. RESPONSES Salary From Most Recent Documentary SALARY SALARY SALARY I received most(between51-99% I received most(between51-99% I received most(between51-99% I received some(lessthan50%of I received some(lessthan50%of I received some(lessthan50%of I didnotreceive any salary I didnotreceive any salary I didnotreceive any salary I received all(100%ofmy I received all(100%ofmy I received all(100%ofmy of my expected salary) of my expected salary) of my expected salary) my expected salary) my expected salary) my expected salary) expected salary) expected salary) expected salary) (Gender Identity) and White)(BIPOC (All Respondents)
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS 26% 25% 18% 18% 18% 20% 38% 37% 28% 17% 17% 19% 19% 23% 36% 41% 25% 17% 20% 37% Men Women White BIPOC •146 U.S. Documentary Directors andProducers Personal Income From Most Recent Documentary U.S. RESPONSES Personal Income Amount from Most Recent Documentary INCOME $125,001 -$175,000 $175,001 -$225,000 More than$225,000 $75,001 -$125,000 $25,001 -$75,000 Less than$25,000 (All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
4% 15% 23% 53% 3% 2% •147 U.S. Documentary Directors andProducers Personal Income From Most Recent Documentary Personal Income Most Recent Documentary U.S. Documentary Directors andProducers U.S. RESPONSES INCOME INCOME $125,001 -$175,000 $125,001 -$175,000 $175,001 -$225,000 $175,001 -$225,000 More than$225,000 More than$225,000 $75,001 -$125,000 $75,001 -$125,000 $25,001 -$75,000 $25,001 -$75,000 Less than$25,000 Less than$25,000 (Gender Identity) and White)(BIPOC
COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
5% 3% 16% 12% 24% 18% 49% 65% 3% 1% 2% 5% 4% 5% 16% 15% 28% 20% 48% 55% 2% 0% 4% 3% Men Women White BIPOC •148 U.S. Documentary Directors andProducers Amount of Time Working onMost Recent Documentary U.S. RESPONSES Amount ofTime Working onMost Recent Documentary Without Pay TIME I spent5to10years working I spentmorethan10years I spent6monthsto1year I waspaidtheentiretime working withoutpay working withoutpay working withoutpay I spent1to5years 6 monthsworking I spentlessthan without pay
(All Respondents) COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
43% 13% 12% 17% 12% 4% •149 U.S. Documentary Directors andProducers Amount of Time Working onMost Recent Documentary U.S. Documentary Directors andProducers Amount of Time Working onMost Recent Documentary U.S. RESPONSES TIME TIME I spent5to10years working I spent5to10years working I spentmorethan10years I spentmorethan10years I spent6monthsto1year I spent6monthsto1year I waspaidtheentiretime I waspaidtheentiretime working withoutpay working withoutpay working withoutpay working withoutpay working withoutpay working withoutpay I spent1to5years I spent1to5years 6 monthsworking 6 monthsworking I spentlessthan I spentlessthan without pay without pay
(Gender Identity) and White)(BIPOC COMPLETE DATA FORGLOBAL ANDU.S.RESPONDENTS
42% 44% 14% 10% 9% 19% 19% 11% 4% 4% 14% 10% 40% 44% 11% 14% 13% 10% 18% 18% 3% 6% 12% 9% Men Women White BIPOC •150 THE STATE OF THE DOCUMENTARY FIELD
2020 STUDY OF DOCUMENTARY PROFESSIONALS: COMPLETE DATA FOR GLOBAL AND U.S. RESPONDENTS CMSIMPACT.ORG
By Caty Borum Chattoo and William Harder JULY 2021