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films like The Paedophile Hunter , Escorts (‘about two female escorts in Mayfair’) and Legally High (‘a film we made about psychoactive substances’) to larger HBO- funded projects. “I’m proud of Leaving Neverland , which is about two guys who allege they were molested by Michael Jackson,” details Reed. “That had a big effect; it’s given people a way to address things that have happened to them.” Amos Pictures’ latest film, The Truth vs Alex Jones , documents the lawsuit between the parents of children killed in America’s deadliest school massacre, Sandy Hook, and conspiracy theorist Alex Jones. “It’s really about fake news and the rise of angertainment,” says Reed. “We’re continuing to shift between genres. We haven’t stayed still and just made the same type of film over and over again, even though it’s been successful. We’ve always tried to stretch and reinvent ourselves.” Got what it takes? Being a documentary filmmaker is largely about carrying kit – and being ready to use it at a moment’s notice. “I emerged from the last days of the traditional documentary-making world before small, handheld, portable video cameras came into use,” explains Reed. “There were a lot of valuable things I learnt from growing up on the tail-end of that old-school culture. Working with film makes you a lot more disciplined; it forces you to think far more carefully about what you want to record.” WORKING WITH FILM MAKES YOU a lot more disciplined . IT FORCES YOU TO think far more carefully ”
MOB MENTALITY Four Hours at the Capitol is a study of the January 6 US Capitol insurrection
Advances in camera technology ‘changed everything’, recalls Reed. “Now, we’ve got amazing cameras that – for a fraction of the price – can shoot amazing cinema pictures. We live in a golden era of possibilities,” he argues. Most of Reed’s kit comes through CVP. “We end up buying more and more, better and better equipment, and learn how to use that ourselves. I will usually just throw the manual at someone and say ‘figure this one out’. It’s a very DIY company, in the sense we’re all quite hands-on with the kit. “We’re not just people who read books and ask clever questions,” Reed continues. “We’re pack animals, in that we carry heavy cases full of kit around the world all the time – in and out of airports, in and out of Airbnbs, in and out of locations. That’s often what it takes.” A fine line Some would argue that the ‘truth is subjective, but Reed follows a strict fact-checking regime. “We will always go back to primary sources where we can, go back to the security cameras or this and that,” he describes. “Then you discover that, actually, you don’t need to exaggerate or enhance or emphasise things – the true story is as dramatic as you could ever wish for.” Reed is concerned about trust – not only his own trust in what he’s watching, but trust in documentaries generally. “I’m always left thinking, ‘was that actually
what happened?’. The story beats happen exactly on cue, and the twists are exactly in the right place; it’s often well executed but it leaves you with a slight sense of inauthenticity. You know how messy life really is. “I think audiences value content which is true and authentic and doesn’t make any compromises for the sake of entertainment,” continues Reed. “If you do your research well enough and you choose a good story, you don’t need to make compromises.”
CVP is home to a full spectrum of production equipment ready to see, combine and evaluate. Its creative and technical staff are committed to finding the right solution for every production need. To arrange an online demo or book a one-to-one consultation, call 0208 380 7400 or visit cvp.com Build your perfect kit with CVP
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