Nonfiction Producers and Directors Talk How to Make Docs Pop in Crowded Marketplace

) — each picked up for around $25 million in late 2019 — set a new standard for doc acquisitions. And the hits just keep on coming: a few months later, Disney acquired Peter Jackson’s “The Beatles: Get Back,” and in April, Netflix nabbed a multi-part Kanye West doc for a reported $30 million.

“If you have access to great archival [material] and a story that can be told in a new way, or one that people don’t know, that’s going to get attention almost every time,” Braun says. “I also feel a personal story that’s told well and filled with surprises and thrills and a sort of innate, intense emotional truth — even if there’s no superstar — can work really well.” On the other hand, he notes, “it’s sometimes a struggle [to sell] ‘survey films,’ made about a topic with examples of a topic.

Jesse Moss, who co-helmed the Emmy-winning “Boys State,” helped raise LGBTQ+ visibility by producing the 2019 doc “Gay Chorus Deep South” and directing the Pete Buttigieg chronicle “Mayor Pete” . Moss feels that what makes his new doc stand out is “the freedom we had to make a true, unscripted vérité film, and the access we had. I think access is currency in the marketplace.” Next up, he’s directing a “kind of coming-of-age story, an adventure and a tragedy.

One of the main reasons a film like “Boys State” can nab a $12 million deal is the promise of a spot in the awards race, something streamers and indie distribs crave. It’s the first motivating factor mentioned by Foothill Prods.’ Jamie Wolf and Nathalie Seaver, who exec produced the DGA-winner “The Truffle Hunters,” the Peabody-winner “Newtown” and Sundance honoree “Cusp.

Focus Features president of production and acquisitions Kiska Higgs says her Uni specialty division has talked with partner outlets NBC, MSNBC, Sky, Peacock and Universal Pictures Content Group about becoming “a hub of sorts” for docs. “I need a better pitch, but at Focus, we just buy what we like,” she says with a laugh.

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