NYWIFT Blog

By Tatiana Trebisacci

Welcome to NYWIFT, Margaux Moores-Tanvier! Margaux is a documentary producer and writer with a focus on investigative stories. She’s produced features and episodic nonfiction for Tubi, Oxygen, Discovery ID, A&E, and HISTORY, mainly in the true crime genre.

In her work, Margaux values collaboration, essential to produce premium content. She strives to cover topics such as crime, civil rights abuses, and extreme beliefs in a compelling, cinematic way that also provides an engaging and personal narrative for viewers. 

Prior to working on documentaries, Margaux directed and produced over 30 short films, music videos, and live events. Born in France, with family ties across the globe, she is deeply connected with international news.

 

 

How would you describe yourself in a brief elevator pitch?

I would describe myself as an optimist, and a little bit of a perfectionist. I sometimes overthink small details, even if it means spending a bit too much time on something that definitely doesn’t need it, when I could instead go out and smell the metaphorical roses.

 

What brought you to NYWIFT?

A member I know, [former NYWIFT Board Member] Kathryn O’Kane, spoke highly of this organization and, after looking into it, it seemed like a great community to be a part of! I think it’s important to connect with other women in film, and to support each other.

 

 

You have experience producing for Tubi, A&E, Netflix, HBO, HISTORY and Lifetime. What is it like working on production teams creating nonfiction content for networks?

It can be a challenge because networks have specific ideas of what they want that don’t always align with yours. But it’s a great feeling to know your project will have a home and an audience once it’s completed. And it’s a blast to work with a lot of different people! You get to make long-term connections with amazing, smart individuals who love doing the same things you do.

 

 

Tell us about your specialization in the true crime genre. What drew you to the genre, and how does it inform your work?

I’ve always been interested in crime. It’s a fascinating genre, but the stakes are always high because you’re usually dealing with the worst thing that could happen to someone. It makes you want to do your best to honor the story, and it keeps you grounded as a person. I like other genres too, but networks do seem to have an unending hunger for true crime.

 

 

Your experience with investigative storytelling includes topics of political corruption and civil rights abuses. What is your process for producing stories related to these topics?

My process for producing documentaries about topics like civil rights abuses or corruption is similar to other projects, but we have to be extra careful to cover the story comprehensively. It’s more likely to be scrutinized, so we cannot afford to omit something that will discredit the general message of the project.It’s also usually harder to secure public records if they make a public institution (like a police precinct) look bad. So, we know going in that it’ll be a bit more of an uphill battle.

 

 

How would you describe the process for creating compelling documentary series and features?

The first step is to dive into research. I like to find every possible piece of information available about a story before I write a single line. After that, it’s a long and busy road of reaching out to participants, and making the story come to life. But I find comfort in leaving no stone unturned, which gives me the confidence that we’re putting the best story possible together.

 

 

Your involvement in the realm of international news includes knowledge of cultural shifts and technological innovation. How do you stay up to date on trends, and how do they affect your work?

I wouldn’t say “involvement” per se. I did work at AFP for a short while, but my connection today is that I have family across the globe, and a natural interest in news outside of the U.S. So, I stay up-to-date on international news by reading a lot of foreign papers, watching international documentaries, and generally keeping an eye on potential stories to cover. There’s a whole world of interesting things happening outside of the US, and there’s a lot to learn from them.

 

What is the best industry advice you have ever received?

Show grace (including towards yourself). Everyone makes mistakes, and I’ve found time and time again that fostering a positive environment leads to happier and more motivated teams, who are already stretched thin.

 

 

What types of projects do you see yourself working on in the future? 

I see myself continuing to produce longform documentaries and do deep dives into crimes, civil rights cases, politics, and stories that center around a person’s extraordinary life (good or bad). But I also look forward to the story that I don’t know is coming – we’re lucky to be able to work on many different topics, and learn from each of them.

 

Connect with Margaux Moores-Tanvier on LinkedIn, IMDB, and on her website www.margauxmt.com.