Thanks, Ernest!
Annnnd, we're less than a week away! I ain't gonna lie -- I'm not even slightly prepared. Got much to do in the next week.
So, a small handful of people might recall that I started a blog, a long time ago, in which I was to detail my thoughts on documentary-making. I mustered a whopping one post, and it was mostly philosophical, not so much practical.
I think I should finally finish what I started, although it'll be in a much more abbreviated form. First, to qualify the following statements, my personal history in this medium -- I have a degree in Anthropology, and one of the subjects I focused heavily on was "Visual Anthropology" (making documentaries about people). That does not make me an expert. Quite the contrary, I'm very much a beginner in this field. I've actually only made a few short docs, and everything I'm going to advise is basically my best effort to regurgitate what was once taught to me.
Also, this is just one method, of which I'm sure there are millions (and millions more, waiting to be discovered). But it's worked well for me, thus far.
This method is for an interview-based documentary. So, I'll focus my comments on two issues -- conducting the interview, and editing the interview.
The Interview:
I'm gonna skip over some VERY important stuff, because I hope (in this forum) it is common-sense. Stuff like researching your subject. Duh. And finding good locations for audio, and setting up good lighting. I've had some really quality interviews ruined by crappy audio. I do have some thoughts on lighting and sound, but first...
In my opinion, the key to a great interview is in disarming your subject. Make them feel comfortable. It is impossible to make them forget that they are speaking on camera, but we should try our best to lessen this effect. The closer we can get this interview to being a regular conversation, the better.
One way to accomplish this more natural discussion is to just start an actual natural discussion, long before the camera is rolling. It helps if the conversation is taking place in a location in which our interviewee feels comfortable; you can start casual chit-chat about anything you see around their house (or wherever). You see an Xbox, and you start talking about games they play. You see a DVD collection, and you start talking about favorite movies. You see a fully-stocked kitchen, and you talk about favorite methods of cooking. Regular-ol' everyday conversation.
While conversing, the lights and audio are being set up. They should be as unobtrusive as possible. Make sure your interviewee is comfortable. Annnnnd, transition! Eventually, obviously, you gotta start talking about what you wanna talk about. No need to announce it, just let the conversation slide into it. People aren't stupid, though. Some might ask -- "Wait, so this is the interview now?" Doesn't matter, the psychological effect has already set in -- they're comfortably talking to you, and that's huge.
During the interview, you want to try your best to keep it a natural conversation. This isn't really possible, because of one major constraint -- you need to shut the fuck up! Let them talk, and you listen. So, all you really have is your face, and you should use that to engage with them. I don't mean you should be clown-like, or anything, but the same rules that apply to a normal conversation apply to an interview -- maintain eye-contact, react appropriately with facial gestures, etc. If you're looking at your list of interview-questions, or checking your camera, or anything else, that takes them out of the conversation.
One great pointer that has paid countless dividends to me is to let them finish their thoughts. You ask a question, they answer it. Normal conversational rules would dictate that it's now time for you to talk again. Shut the fuck up! Let there be an awkward pause. Use your acting chops -- pretend you're thinking their answer over, trying to figure out the next question. Whatever you do, don't make a peep. You'll be surprised how often the interviewee fills this awkward silence with an elaboration on what they just said. And it is these after-thoughts that so often produce the best footage.
Other than that, the obvious things to consider would be to think up not just a list of interview questions, but to anticipate possible answers, and possible follow-up questions.
Immediately after the interview is the best time to get a bunch of visuals. You can't have too much. Seriously. I've never had enough. Anything related to the subject, at all, you need to get it on camera. Get more than you think you need.
Editing the Interview:
The first step is to log your footage. This step is usually boring as hell (and time-consuming), but oh so necessary. It must be done, and you need to be thorough. Basically, you just watch your footage, in it's entirety, and take
detailed notes. You should have a written transcript of every spoken word, in addition to any important visuals.
The funny thing about documentary-making is that the narrative is formed in post-production. In narrative filmmaking, the screenplay comes first. A documentary is more like a puzzle. You go out and get as many pieces as you can, then you figure out how to piece it all together. Needless to say, your puzzle is going to be a mess if you never even take a thorough inventory of what pieces you have. That is why it is 100% necessary that you do not skip-over logging of footage.
In the method that I use, you essentially write a screenplay, using sound-bites from the interview(s). After you've finished logging footage, you make a list of the sound-bites that jump out at you. In narrative screenwriting, it's advised that most lines of dialogue should be one or two sentences, at most. Same rule applies in documentaries. Keep your sound-bites succinct.
When you've got your list of sound-bites compiled, arrange them into groups that all fit together. And then, within those groups, arrange them, and re-arrange them, until they begin to form a meaningful narrative.
All of this is done before we even open our video editing software. Not until we have a clearly-defined narrative do we finally begin editing footage. At first, don't worry about visuals. Seriously, pay no attention. Edit to audio first. Create a narrative. Keep it tight, keep it flowing.
Once you've got that, you're golden. All you need to do now is plug in all the visuals so that you don't have a bunch of weird-looking interview-footage, rife with awkward jump-cuts.
And that's all I have to say about that.
So, me and Levanchuk are in. Anybody else?
As well as quite a bit of working experience that would count as well.
