shadows of doubt investigation discovery

In a decade as a documentary filmmaker, I have started each project with a certain confidence that truth is a realizable goal. Only time will reveal the answer.”Fortunately, distributor C4I has come in with significant support to cover some of the overages. My last words were, `I am sorry you feel so negatively but I hope I’m right and you’re wrong. The unfolding of truth requires hard work and is fraught with challenges, to which most audiences – we are told – are not willing to commit.’Īs for C4, ‘the commissioning editor, simply did not like the film, and let me know that she has never liked it,’ says Stack. Herein lies the paradox of television documentary. Nevertheless, they’re probably correct in that it will now work better for their audience. I know some of the subtlety and texture of the piece has been lost. ‘I showed Shadows to A&E and they responded very positively, but felt it was stronger television at an hour. ‘I understood that in the end they might not accept a feature-length version, but threw caution to the wind and did what I believed was right for the project.’ However, once Stack began filming, he realized the story demanded more. broadcaster’s sales arm.Įncouraged by The Farm’s success, both A&E and C4 signed up for Shadows of Doubt, a follow-up to The Farm focusing on inmate Vincent Simmons. The Farm, which aired on A&E in the U.S., earned Stack top honors at the 1998 Sundance Festival and an Academy Award nomination, not to mention an output deal with London-based distributor C4 International, the U.K. In 1998, producer Jonathan Stack (of New York-based Gabriel Films) took the feature doc world by storm with The Farm: Life Inside Angola Prison, the story of six male inmates serving life sentences in the Louisiana State Penitentiary. Broadcasters bargained for? Jonathan Stack reflects on the dilemmas faced while filming Shadows of Doubt, the follow-up to The Farm

Shadows of doubt investigation discovery