How did Mad Hot Ballroom survive the copyright cartel?
45% of the budget for Mad Hot Ballroom went toward getting copyright clearances for the movie.
Here’s the danger of these sorts of requirements for documentary makers.
Sewell: Well, we had to watch out for billboards and Frito-Lay trucks all the time. But I usually didn’t care, we would just shoot. The biggest danger with clearances is when they interfere with documenting real life. Something spontaneous like a cell phone ringing is different than a planned event. If filmmakers have to worry about these things, documentaries will cease to be documentaries! What happens when the girls go shopping and there’s music playing in the stores? We were lucky because in our movie the music wasn’t identifiable, but otherwise what are we supposed to do: walk up to the store manager and say, “Excuse me but can you turn off your radio?”
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