Directing documentaries
- They do not just happen
- They need to be researched, meticulously planned, scripted and set up
- Control is key throughout the whole process
SEQUENCES - What is a sequence?
- Just like a drama, we direct sequences in docs which (based on research) REPRESENT REALITY:
- 'Artistic representation of actuality' (R. Flaherty quoted in Aufderheide, P., 2003.p.7)
- Close ups are key! REPEAT THE ACTION & BEWARE CONTINUITY
- Make sure sequences are - INTERESTING, CREATIVE & RELEVANT and PROPERLY SET UP FOR LIGHT & SOUND
- Shoot with tripod wherever possible
Sequencing contributors & talent
- When dealing with a paid talent you can ask them to do whatever you creatively want for the film (within reason)
- When dealing with members of the public this is potentially more tricky
- Ensure you've talked through your plans with them prior to the shoot so that you know they are happy with the arrangements
- Gain trust when dealing with 'real' people and 'real' situations
- Research should highlight potential actuality and relevant sequences which will 'tell the story in pictures' so you can plan this in your shooting script
Sequences rules (YouTube vid: 'Video Sequencing Made Easy'):
1. Hold shots for roughly 10 secs
2. 3 close ups : 1 wide shot
3. Action + reaction = compress time
- control camera at all times
4. 'Peak moments'
5. Control the actuality with the camera
Good coverage - shoot to edit
- Art is to get as many options as possible for your edit
- i.e. shoot lots of different angles which will cut together for continuity
- Remember the rule of 3 close ups for every wide shot - break each shot into action and reaction shots to give good COVERAGE
Always get CUTAWAYS
- To cover the edit
- GV's (general views) are a good way
- Might not always be in the right place/might miss something - cover with cutaway
In order for this to work you must ensure there is a continuity of Mise en Scene:
- Each shot matches the next
- Lighting
- Colour
- Continuity of performance and orientation
- Cutting on actions (match action edits)
ACTUALITY - What is actuality?
- Actuality is a type of documentary filming which captures events and does little if anything to control them - REALISM
- Therefore, in contrast to sequencing, you will not direct the action but respond to it!
- Can't control action therefore controlling camera is very important
- 'Wobbly' look is expected and makes it look more real
Actuality shooting strategies
- Letting the subject enter and leave frame so we have a start and end point
- Apple the rules of sequencing by controlling what and how you shoot
- Filming plenty of reaction shots
- Filming cutaways, establishing shots and non-sync wide shots
- Always getting GV's/cutaways
- Only shoot what you need
- Plan use of sound kid carefully e.g. radio mics on main character/s
- ALWAYS get wild track (specific background noise e.g. seagull & ocean noise)/buzz track (sound of nothing)
Brief camera op.
- Keep eye on events before you, but in the way in which they are being recorded, you can maintain a degree of control without interfering with events
- You'll be juggling mixed priorities throughout a shoot
Why do we need actuality and sequencing?
Aren't interviews enough?
- It conveys a better feeling of 'real life'
- Engaging the view - pace
- Helps to edit and illustrate interview sync clips
Visible or invisible director?
Reflexivity
- the technique of exposing the filmmaking process, thus distancing itself from the personal 'authorship' in making documentaries
Self-reflexivity
- Exposes not only the process of making a film, but always the authors' own views and the journey they themselves make
- Thus the director can be part of the film itself and takes on a more active role in film
Screening of 'EILEEN: The Life and Death of a Serial Killer'
 |
| Eileen Wuornos |
Death penalty
- Mental health
- Lower crime rates with the death penalty - is it working? Does it prevent/punish in the correct way?
In terms of Eileen as a case study:
- Murder or self defence?
Characters
- Her mother - no safety net, Aileen was left walking around in the woods as a teenagers
- Friend who saw her being abused
Sequences
- Music helps move the documentary along
Actuality
- Goes through her story while flashing back to her past
Structure & pace
- Was not a fast paced film but keeps the viewer interested
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