Text: Alan Rosenthal - 'Writing Director and Producing Documentary Films and Videos'

In this textbook Alan Rosenthal provides a guide for making documentaries, from initial research and proposal writing through to the final stages and distribution, with a focus on both directing and producing. As the producer for our film, I took particular interest in the 'Writing the Proposal' and 'Directing the Interview' sections, and I have summarised the main points from each below.

'Writing the Proposal'

• 'Aim for simplicity, clarity and brevity in your proposal'
• Outline the background and need in your film - why the topic is interesting and importantly why it is important to viewers now
• Describe your approach, form and style - where is the drama, conflict and emotions in the story. If, at this stage you're not able to provide a detailed structure, outline a number of different approaches you may take in the film - but be specific.
• A director has a number of different duties and requires a breadth of knowledge: covering camera movements, continuity, cutaways, shot impact, lenses and sound.
• A different directing mindset is required for films that aren't fiction or documentary features with scripts. Have to be immersed in the subject, respond quickly and effectively to change and follow the details closely to build and tell a story.
• Clarity of purpose is very important. Need to have a strong idea of the finished film and a clear focus; what is it about, why are you making it and how will it be made?
• Style - whatever stylistic choices, following or breaking rules, it needs to be maintained consistently throughout. Other crew members need to be aware of this (especially cameraman), so clear vision and constant communication is key.
• Director needs to be a good decision maker - this is often difficult in documentary as decisions have to be made  'without preparation or warning'
• Director needs to be able to respond to a scene and establish immediately what is important, focusing the camera there. Sometimes have to make fast decisions to save a film if original idea threatened. This requires courage to decide a new direction, 're-concentrating energies on a more feasible subject'

'Directing the Interview'

• Conducting a preinterview, or just meeting the subject will relax them on the shoot. 
• Enter the interview with an objective, knowing what you want to get out of the session. 'You want some very specific answers for some very specific questions', whether its getting to know someone, or talking about a specific situation or event.
• 'Your questions must have a focus and direction' - make sure the main lines of questioning are pre-planned, from here it is encouraged to listen, diverge and respond in conversational manner. 
• Consider the location carefully, the most obvious might not be the most suitable. Where will the subject feel totally at ease? Might not feel comfortable doing it at work or around other people.
• Compose the interview background, make sure it is not distracting or busy, that it eases the interviewee and importantly adds to the mood and drama of the story.
• Some situations may be suited to group interviews, where discussions can add multiple different viewpoints and experiences to the story. These can be more difficult to control - add questions at times but for the most part let them respond to each other.
• Be bold in holding the silence if following an effective soundbite - useful in edit.
• Different setups have varying effects - looking into camera (authority, direct contact, close to experience), off-camera (more relaxed, anecdotal, and friendly, sympathetic connection with interviewer). 
• Two-person set-up used mostly for news or when aiming for or expecting confrontation.

Interview Cautions and Tips

• 'Stay away from gush' - don't need to demonstrate knowledge, it is unnecessary and off-putting.
• Keep the questions simple and concisely worded. If a question has multiple branches of enquiry, participant will likely only answer the last they heard.
• Keep questions open and unbiased - no leading questions. Show interest and acceptance of their opinion even if it differs from your own.
• Avoid interrupting, it shows you're uninterested and ruins the pace of the interview.
• Be aware of ethical issues such as sensitivity, fairness, politics and propaganda.
• Must be a bond of trust and relaxedness between director and participant
• People look most natural performing an action that takes their mind off the camera. These actions should be relevant to both themselves and the story, advancing the film and revealing something about their character.
• Shoot for the edit - obtain enough cutaways to be able to get out of a scene quickly or immediately change the point of view.