When the Story Is Big Enough for a Camera, Not Just a Byline.

Some matters outgrow a press release. When a documentary crew, streaming outlet, or long-form producer wants access to an MDL or mass tort, I manage that access on the litigation’s terms — never the production’s.

Litigation-First

Filming and release timed to the case, never ahead of a filing, ruling, or settlement.

Consent, Every Time

No claimant appears on camera without informed, written consent — reviewed with counsel first.

Direct Access

Karen picks up. No associates, no account managers, no hand-offs.

THE APPROACH

Documentary interest is a sign a matter has broken through — and a risk if it isn’t managed inside the litigation. I vet the production, negotiate access and editorial terms, prepare anyone who’ll appear on camera, and keep filming and release on a schedule that never gets ahead of the case.

HOW A DOCUMENTARY GETS MADE

Three phases, in order. I run pre-production myself; production and post go to a vetted crew and editor I’ve worked with before — never an open bid.

01 · Pre-Production — MY DESK

Finding the concept: the angle that makes the case worth ninety minutes, not just a headline.
Research, background, and lining up which claimants and witnesses can appear on camera.
A treatment and outline — the story’s roadmap — built around the litigation timeline, not around it.
Budget and shooting schedule, set against real filing dates, hearings, and trial windows.

02 · Production — VETTED CREW

Camera and sound handled by a crew I’ve worked with before, briefed on the sensitivities of the matter.
Interviews and B-roll scheduled around depositions and hearings, never in place of them.
I’m on set for every claimant or plaintiff interview — no unsupervised access.

03 · Post-Production — VETTED EDITOR

Editing handled by an editor I’ve worked with before, not an open bid.
I review every cut before it moves forward — nothing airs that gets ahead of the case.
Release timed to the litigation, not the production’s own schedule.

How It Works

Vets producers and outlets, negotiates access and editorial control, and coordinates consent with counsel before anyone is approached.

What You Get

Media training for named plaintiffs and spokespeople before they face a camera, a filming schedule that respects the litigation calendar, and a single point of contact between your firm and the production.

Why It Matters

A documentary can extend a case’s public narrative for years — or hand the defense an opening if it runs ahead of the litigation. I make sure it’s the former.

Have a Production Asking for Access?

Send me the case name and who’s asking. I’ll tell you what to do before you say yes.

Call / Text Karen — 202.322.8199

Prefer to call? 202.322.8199