Film is one of the most creative, yet also one of the most influential artistic disciplines that has been observed in the modern world through subjects such as art history, cultural studies, sociology, history and other social sciences. Even though film directors, screenplays, and actors were highly looked upon in the early years of cinema (especially from the 1920's until the 1940's), this kind of intellectual attitude started to change. Various media experts and film studies professors started to appreciate not only fiction film, but also documentary film. Even today, this kind of motion picture has its own significant place. Today, with the rapid development of digital technologies and channels, thousands of people are writing, filming, editing and producing their own inventive stories. Thus, because of this kind of change, multimedia disciplines such as journalism and marketing started to modernize, especially documentary film which in these days has been associated with investigative journalism. Even though documentary film is a combination of creativity and investigative journalism, it is crucial to highlight that documentary film seeks intuition, passion, discipline and interest from its author. This is an important path in order for a film to become successful. The production processes of a feature and documentary film differs, since a large artistic team is involved in a feature film, where producers and directors have to regularly collaborate with their actors and team. On the other hand, while making a documentary film, the storyline is built in the pre-production phase (the director knows its protagonists, they know the structure of the questions and most importantly, they need to have an investigative and creative eye to capture unexpected moments). This work will chronologically analyze the pre-production and post-production tasks of the film „Knowing Mario“. In the first part of the thesis, the author will elaborate the theoretical aspects of documentary filmmaking, evaluating definitions of documentary filmmaking, assignments a producer should complete and ways how he/she differentiates from a producer in a feature film, the specifics of a documentary film and the practical preparations in pre-production. In the second part of the thesis, the author will analyze the production tasks while filming „Knowing Mario“: the challenges the producer faced while filming and finally highlighting the marketing and PR plan for the film. Certainly, this paper will serve as a guideline for production students at The VERN' University.