What Comes Next…

Photo by Trevor Navarra

“What’s next?” is a seemingly innocuous question…

And yet it’s a documentary filmmakers most constant fear… It’s a refrain you hear often in this business. People ask it off-handily, almost meaninglessly, during hello-how-are-you kinds of conversations, and yet it collectively haunts us all… Because often times there is no known answer when the question is posed.

As someone said to me recently, ‘creating documentaries is like throwing darts at a board and waiting six months to see if they hit.’

And therein lies the fear…

You never quite know what is coming next, even when you think you do… Because nothing in this business, like life itself, is ever certain.

The job is in a constant state of evolution. It’s a system of constant challenges and never-ending risk vs. reward scenarios. And honestly that’s part of the draw too. There’s something amazingly evocative about constantly ‘battling’ for your spot in line. And yet it’s the biggest concern as well. The amount of time you have to breath from one project to the next is minimal at best and yet everyone always expects not only your ‘A Game’, but for your ‘A Game’ to actually improve. The status quo is never good enough. Nor should it be, really. The goal should be — no it has to be — to get better. But you know that when you take the gig… It’s part of the inherent contract you sign with yourself.

So as some of you might have noticed, lately I’ve been more or less missing in action on the blog front — it certainly wasn’t a pre-planned hiatus but rather the result of being consumed with ‘What has come Next’…

And it’s worth mentioning at this point that right now given where the world is at from an economic standpoint a good portion of me is just thankful there is a ‘next’ anything at all. When all is said and done documentaries, and even movies to some extent, though less so, are completely consumable products. Nobody needs them to live their lives. The world would continue just fine without them. If every network on the face of the planet went into a state of constant re-runs… Sorry, ‘encore presentations’… You have to logically think that some percentage of the TV watching population wouldn’t even notice… We live in a world with more visual diversity and stimulation than at any other point in history and it’s impossible to keep current on it all…

That being said tonight I’m thankful for more than just the gig itself — I’m thankful for my guys. They are truly an amazing group and they were able to make ideas that existed only in my head and turn them into reality.

I simply cannot thank them enough; Directors of Photography Andrew Waruszewski and Trevor Navarra, along with Jason Goodell, who Gripped and Gaffed, and Peter Karr , who handled Location Sound, were absolute magicians.

I bring all of this up because tomorrow the rough cut for the next sportbike doc heads back east for the network to review and it is without a doubt the best piece of work we’ve ever collectively done. Sportbikes have never looked this good. It is light years beyond Speed On Two Wheels and so far past Twist The Throttle it’s not even funny.

It used to be when I was sitting in the edit suite editing a show I knew if something, say a sequence or an act, was good because the hairs on the back of neck would stand up and I’d get that goose-bump feeling that made me think this was something I’d watch… This time I know it’s good because I can’t stop watching it… And I’ve already seen it a couple hundred times…

Now ultimately it’s up to you the audience to really decide if it’s better, but right now I’ve got the strongest hunch of my entire life. I’d bet the farm, the house, the in-laws, maybe even the dog… (Probably not the bikes though It feels like something entirely different and yet still consistent with the tenets of filmmaking that we collectively subscribe to… I simply can not wait for all of you to see it.

Photo by Trevor Navarra