Moss says the live broadcast has brought his documentaries to wider international audiences, and he has enjoyed the opportunity to explore themes in the documentaries format. But he notes that this is “not the right approach for every story” and “there has been, at times, pressure to expand a story that may not support a multi-episode approach.”
What makes a documentaries more profitable or engaging than a feature-length documentary? hard to say. “Netflix doesn’t provide the methodology they use to determine what counts as a success,” says Dan Rayburn, streaming media analyst at market research firm Frost & Sullivan. “So we don’t know, really, what goes into how which of these streaming services decide which content to create or how long it should be.”
Still, we can guess. Rayburn notes that there is no additional cost to upload additional content to the Internet compared to paying for an additional slot in a TV schedule or in the cinema. If you have five hours worth of content and you normally edit it to two hours, he says, “Why don’t you bring it up?” Likewise, producing sequels using old footage is economical, and there is less risk when you already have a well-established fan base. “Netflix doesn’t really guess a lot, it has the data behind it to show what counts as a good investment and what isn’t,” Rayburn says.
But are good investments and good content the same thing? Guggenheim Fellow Matt Wolf, Director Earth spaceship, says the documentary series format works well for the true crime genre when there is “a story with enough twists and turns that requires it to be sequenced”. But he says documentary filmmakers have always historically shot hundreds of hours of footage, and there is now “the risk of misidentifying an abundance of material for an abundance of stories.”
However, both Moss and Wolf believe the documentary sequels can be valuable and are an encouraging sign for a healthy industry. “As a filmmaker, I love the idea that the characters and stories are so compelling that when a viewer has finished watching a movie or series, they keep thinking about those characters,” says Wolf.
Moss says that whenever a documentary is shot in the present tense, there has always been the looming question “Where do I end this story?” In today’s environment, theoretical stories never need to end – we can still see them tiger kings 3, 4, 5 and 6 plus a special Christmas bonus. “Personally, I’ve always accepted that things are somewhat unresolved. Sometimes I just need to move on, emotionally, and it’s okay to finish a movie and do new work,” Moss says. Benin State It was created once, but is now developing “not a sequel but a brother,” country girls, about the youth equation for the boys state camp. “We think this is just a necessary continuation of the conversation,” Moss says.
In case tiger king 2, this conversation so far seems to be: “Look at how influential our latest documentary is.” But Moss notes that this is completely unprecedented. Paradise Lost: Child Killed in Robin Hood Hills It was a 1996 documentary about the Three West Memphis; Followed in 2000 by Paradise Lost 2: Revelation And in 2011 by Paradise Lost 3: Purgatory. The instant sequel began by compiling news footage of the first movie. The official trailer for the third movie was fun Entertainment Weekly Quote: “We tend to think of movies as fun entertainment. But now and then they have the power to change lives.”