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Asian American documentaries as defined by Renee Tajima Pena present a foundation to dispute and correct the biased and unrealistic images portrayed in films based on real life experiences. Experts have said that after a decade of reality television, the film business is playing catch up. The audiences and the studio executives not only tolerate the real in their lives but also expect it. However, tapping on the factual events, Hollywood is also trading in risky grounds as the films based on reality have received criticism on the basis of creativity, ethical and even legal grounds. As Boyle and others put it, it is becoming challenging to make a feature film by abiding on the constraints of creating a documentary. Some of the subjects such as Ralston want to be involved to the point of dictating the mannerism of the film. This could be because most of the people are sick and tired of the neat and shaped fiction stories, and the compelling situations derived from real life is gaining much more popularity.
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On the other hand, some other subjects do not want to be involved, and even threaten lawsuits if they are dissatisfied with the results. There is a danger that every time a story is created out of real personal experience, the film enters into a position of distortion. This is because it is an enormous responsibility to play a real life character; it limits the liberty to tell the story. In some of the instances, even with the best intentions, it cannot guarantee protection resulting from controversies. Furthermore, when a movie is based on real life, it does not just turn real life to entertain. It dilutes the texture of real experience. In this case, the facts based stories come in with entanglements. For example, Walberg upended his private life for The Fighter, moving Wards and Wards and hyper eager creating conflicts to ensure that they were on board with his interpretation.
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