The Hollywood Reporter (Weekly)
If You Can Make Nonfiction Here …
With new high-profile films for or by New Yorkers, the city retains its status as one of the documentary capitals of the world
From a nonscripted place, so many amazing stories happen in New York, and we can’t help but bring the city alive because it’s a character in itself — I don’t think many other cities have that,” says Elaine Frontain Bryant, executive vp and head of programming at A&E Network.
The network recently announced that the latest project in its long-running Biography series will focus on Wu-Tang Clan founding member Ol’ Dirty Bastard; the first feature-length documentary about the Brooklyn-born rapper is slated to air in 2023. It’s the kind of nonscripted programming that
Frontain Bryant says is sparked in New York’s creative community.
“There’s a sensibility about being in New York right now that doesn’t have the glossy TV feel,” she adds. “There’s an integrity and rigor that, although we’re not journalists, [allows us] to tell a story in a way that is entertainment-forward but has a purpose.” These recent documentary projects also reflect that spirit, telling extensive and illuminating stories about — or by — New Yorkers.
THE ANDY WARHOL DIARIES
(NETFLIX)
This six-part series, which launched March 9, examines the personal life of the pop-art icon and charts his rise from a young working illustrator in New York to the celebrity artist whose work had an indelible impact on American pop culture. In Warhol’s own words (and his voice, re-created using AI technology with the permission of the Warhol estate), the series follows him as he navigates between New York’s high society and the gritty and glitzy world of The Factory. More important, the series sheds light on how his romantic relationships, as well as his creative collaborations with fellow New
York artist Jean-Michel Basquiat, influenced the way in which he expressed his own queer identity in his work.
ELON MUSK’S CRASH COURSE (FX/HULU)
From the team that produced the Emmynominated Framing Britney Spears, Elon Musk’s Crash Course will launch the second season of FX/Hulu’s doc series The New York Times Presents on May 20. Featuring Times technology correspondent Cade Metz and auto industry reporter Neal Boudette, the doc will probe Tesla’s controversial Autopilot system and the accidents in which the feature was allegedly faulty. Using interviews with former Tesla employees, Crash
Course also looks at the Tesla CEO’s powerful influence in sidelining government regulation and investigations into Autopilot — which may provoke the enigmatic entrepreneur into an offcamera response, likely on Musk’s soon-to-beacquired Twitter.
THE CAPTAIN (ESPN) Three-time Emmy winner and Bronx native Randy Wilkins directs this six-episode series (executive produced by his mentor Spike Lee), which premieres on ESPN and ESPN+ on July 18
to coincide with Derek Jeter’s induction into the Baseball Hall of Fame.
The docuseries tracks Jeter’s storied two-decade career with the New York Yankees, during which the team won five World Series championships — beginning with his rookie year in 1996, the team’s first World Series win in 18 years. The series is a celebration of a sports figure whose contributions turned a struggling franchise into a baseball dynasty, all while the team’s home city went through its own period of dramatic change.
One key creative decision was to include Simmons in the series, onscreen and in a personal voiceover where he ponders his deteriorating relationship with the rapper. When West and Simmons first partnered, West was eager to be the subject of a documentary, and over the years the two had discussed finally releasing the project, but West was reluctant. Two days before the Sundance premiere, West took to Instagram demanding final cut on the documentary. The producers at Time had a saying whenever the project hit this kind of speed bump, Orefice says: “In Coodie we trust.” Ultimately Simmons and Ozah retained their creative control and West settled down, attending the premiere and giving the project his blessing. “He finally told me ‘thank you,’ ” Simmons says. “That felt amazing.” Of their relationship now, Simmons says, “I check in on him. I pray for Kanye every day.”
The next steps for Simmons and Ozah involve shepherding young talent, in hopes that they’ll face fewer barriers than they did, and pushing forward their scripted careers, which was the goal from the beginning. “We fell into docs as a way to prove that we can tell longform narrative,” Ozah says. “Even though we had success in music videos, nobody was trying to trust us with a feature film. We had to become students. We really weren’t ready then, anyway.” But after 20 years, “We see ourselves as making an impact the same way that the Coen brothers have, or Spike Lee, or Martin Scorsese,” Ozah says. “This whole journey’s preparing us to be able to execute at that level.”