Writing on documentary ethics and sensitivity consulting

Field notes on consent, documentary ethics and what actually happens on set.

• Why retiring documentary legends leave institutional memory gaps no handbook can fill

  The news rooms at RAI and the BBC went quiet this week.

• When stunt safety becomes everyone's problem: what the Flintoff crash teaches production

  The moment Andrew Flintoff's vehicle rolled at 130mph during a Top Gear shoot, forty-seven people were watching.

• Documenting historical figures: When consent is impossible

  I watched a producer freeze mid-sentence when I asked who had reviewed the intimate scene they'd scripted between Frida Kahlo and Diego Rivera.

• Cultural authenticity in film restoration: Why classic films need contemporary sensitivity review

  The restoration team had spent eighteen months on the 1952 classic.

• Why film sets need what festivals are finally offering neurodivergent people

  Walking into IDFA last November, I noticed something new: a quiet room.

• When 'not drag' becomes a casting ethics question

  John Early said something in an interview that stopped me cold last week.

• When crew misconduct goes public: Communication lessons for producers

  The post appeared on Paget Brewster's Instagram story late on a Thursday: a screenshot of a crew member's Bluesky account, username visible, alongside text calling out his behavior during…

• Intimacy coordination in animation: An overlooked frontier

  Last month, Annecy Film Festival announced mandatory intimacy coordination training for animated features in competition.

• When walking away is the right call: Spielberg, Porgy and Bess, and knowing your lane

  Steven Spielberg spent years developing a remake of Porgy and Bess.

• The Iranian deepfake documentary should terrify every factual filmmaker

  The film played to a quiet, attentive audience at a respected European festival.

• Working with the subject's lawyer, not around them

  More documentary subjects than ever have legal advisers involved in their participation.

• NDAs and documentary access: when to sign and when to walk away

  Subjects increasingly approach documentary teams expecting some form of non-disclosure agreement as a condition of access.

• The documentary that cannot find its ending

  Documentaries sometimes get stuck in the edit.

• Documentary credits are labor questions, not just creative ones

  Credit on a documentary determines who gets work next.

• When to bring in a second director on a long-form documentary

  Co-direction in documentary is sometimes the right structural answer to a project's specific challenges and sometimes a sign that the original director should have been making a different…

• Transgressive cinema without transgressing performer boundaries

  The most provocative films I've worked on had the most boring paperwork.

• Women ensemble films need women leading sensitivity conversations

  I watched the Her Private Hell dailies in a cramped edit suite in Berlin last year, and something felt off.

• When standing ovations mask consent issues on set

  The Cannes premiere ended with a twelve-minute standing ovation.

• Utopian futures require present tense production ethics

  I watched a documentary premiere at Visions du Réel two years ago.

• Streaming success metrics hide on-set labor conditions

  The Rookie just hit its eighth season and crossed a hundred episodes — a legitimate achievement in an era when most shows barely make it to their third renewal.

• Screening films in prisons requires a consent framework

  I watched a documentary crew set up in a medium-security facility outside Brussels last year.

• Psychedelic filmmaking and altered state consent protocols

  I watched an actress vomit into a bucket during hour six of a strobe-heavy sequence that simulated a bad trip.

• Prison film subjects cannot give truly free consent

  The production coordinator asked if we'd gotten the talent releases signed.

• Interview transparency extends beyond job candidates to doc subjects

  I watched Jon Stewart's recent film about job interviews and found myself thinking about documentary subjects.

• When documentary subjects deserve standing ovations too

  Last year at a major European documentary festival, I watched a director receive a ten-minute standing ovation while the film's central subject—a refugee who had shared eighteen months of…

• Documentary spontaneity vs subject safety: finding the balance

  Last month at IDFA, Chilean director Dominga Sotomayor described her documentary process as "spontaneous and liberating" — shooting without rigid plans, following subjects where they lead,…

• Consent frameworks before the first shoot day

  Last month a producer called me on a Friday afternoon, three days before principal photography began.

• Casting changes and chemistry reads: where boundaries start

  The news about Billy Crudup being replaced by David Harbour in The Monkey went viral because it happened so late.

• Why Every Production Needs a Sensitivity Consultant

  The productions that make headlines for the wrong reasons — the ones facing backlash over harmful portrayals, inaccurate representation, or tone-deaf storytelling — almost always have one…

• Intimacy Coordination: What Producers Need to Know

  Intimacy coordination has gone from a niche concern to a production standard in under five years.

• Documentary legends and evolving ethics standards over decades

  Barbara Kopple's American Dream won the 1990 Academy Award for Best Documentary Feature, tracking a brutal labor dispute at a Hormel meatpacking plant in Austin, Minnesota.

• Documentary Ethics in 2026

  Every documentary filmmaker I speak to in 2026 is asking the same question: how do I tell this story responsibly without sanitising it?

• Writing on documentary ethics and sensitivity consulting