Although there were a lot of people along the way that she considered helpers (like the two women from Paradise Productions who gave Katy and Julia free office space early on), she mourned the lack of female mentors. “There is so much you have to figure out on your own. There is so much self doubt; even now, but certainly when you’re starting out!” Things weren’t always “simpatico,” she says, but, she concludes, “I got pearls of wisdom from all my mentors,” many of whom were men. Her first mentor was St. Clair Bourne, who executive produced Innocent Until Proven Guilty (1999).
Katy wants younger women to have mentors—and thinks of Arts Engine as a “sanctuary” for them, a place where they can explore and actually work on interesting films. During intern day, the interns have the opportunity to ask many questions.
In the past, Katy admits to sometimes having been overly cynical about her career choice. She feels that the job is not always rewarded (in society) and she learned that the hard way. It’s also very difficult to make a living at it—and there’s no business model for documentary film companies. “You always have to hobble together the money, there is never a revenue stream (with the exception of a few very famous documentary filmmakers).” Her colleague Kristen once pointed out to an intern, “You can’t be afraid to be poor!”
The majority of filmmakers are struggling to make ends meet, even reasonably successful documentary filmmakers like Katy. But she stays in it because the draw has always been the creative struggle for her, which she never tires of.
She feels young women can pursue documentary film with or without film school. But she encourages them to work on projects that they’re inspired by and develop and cultivate a marketable skill as a camera person, editor, sound person, or associate producer. “You’re more likely able (and willing) to stay in the field,” she added.
Katy also advises people to figure out what you want to do first. “If you want to be famous or make money, you’re probably in the wrong field!” A filmmaker also has to be willing to talk about issues that people don’t always want to hear about.
