Moment of Truth: 2010's Oscar-Nominated Documentarians Talk to Movieline

Even more specifically, there's a citizen-journalist theme in several films. How has the access to light cameras, digital video and other new media impacted how you make documentaries and the stories you decide to tell?

Cammisa: Well, the digital revolution definitely changed my life. I started documentary filmmaking in 1998, when smaller digital cameras were widely available. Also at that time, the first version of Final Cut Pro was marketed, so I was able to cross over to filmmaking and work in a much more affordable way. Filming Which Way Home could be quite arduous at times, so working with lighter and smaller cameras was an absolute godsend.

Psihoyos: I've been a journalist for 35 years, and having the gear used to be the greatest barrier to entry along with the long expensive learning curve to becoming a professional. I took a three-day crash course on how to use a video camera along with my crew of friends before we went to the cove. Putting a video camera in your hands does not make you a Laszlo Kovacs, just like giving someone a typewriter does not make them Hemingway. However, the digital medium helps you see your mistakes much quicker than film, just as a word processor allows you to move, delete and change your words around effortlessly. And so you can become a filmmaker or a writer easier, if you are tenacious, dedicated, and, in my case, surround yourself with people more talented than you, then you can grow quite quickly.

Goldsmith: Less than you might think. Story and character development are still key.

How comfortable are you with the competitive culture around the Oscars? Particularly with the campaign/short-list stage that can get a little ruthless, even for the relatively civil world of documentaries?

Østergaard: All five films represent worthy causes, and it makes no sense to compare the importance of the issues. But it's fair game to compete on the craft and the filmmaking, and that represents our professional pride and legitimate ambitions as filmmakers. So I don't really mind if there is a little competition in that way. It only makes us better at what we do.

Goldsmith: Not if you don't let yourself get caught up in it. Every one of the nominated docs is worthy of the nomination and of a win.

Erlich: I missed that ruthlessness -- maybe because we are not in L.A. and we are in a very supportive community of colleagues in Berkeley. I found it a bit mysterious and confusing and rule-ridden, but not ruthless. We were just constantly drilled about not breaking any rules, were dutiful about doing so while other films seemed to be ignoring the rules. That's life.

Psihoyos: I was never competitive with my art as a photographer, except with myself. I've always been fascinated with other people's work in all fields of art, and I have a healthy respect for other points of view. I believe a good director tries to bring out the best in other people's work for their film. In a larger context of the whole field, I believe all successful filmmakers should try to nurture the craft of others.

Kenner: I wish it wasn't a contest. I went to a party recently for the short-listed films, and it was great to spend time with these other filmmakers who are doing such great work, too. I want to hang out with my fellow documentary filmmakers, not compete against them!

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