scalakidsdoc

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9. Final Critical Reflection

Nichols mentioned in his work that the end goal that a documentary should have is not set in stone, that it can have multiple outcomes. Here, I believe I have captured a moment in time for a particular community, and created an entertaining experience in doing so. Following Nichols’ models of documentary and advice on starting out, helped to shape my ideas and the way I approached the project.

“…paint a picture of why it is important that the film be made and what the finished version will be like.”

The main aims of the film stayed consistent as I played around with finding the film’s aesthetic style. The film’s style corresponds with my ideological intentions – focusing on giving a voice to kids in a no-frills way, and celebrating their love of their chosen field.

With this production came the slight pressure of representing the company in a positive way, to treat their organisation respectfully and to maintain the reputation of the brand. Of course, I don’t blindly support any brand without critically thinking about its methods of practice and conduct, but I had a pre-established positive relationship with Scala that deserved to be honoured. The film’s focus was not to expose heavier debates surrounding current topics of theatre and children in industry, but instead to explore personal feelings and celebrate individual accomplishments. Again, the absence of adults allowed me to keep the perspective of the film more innocent, due to the lack of wisdom in the kids that could only come from many more years of experience. I set out to intentionally make a film that would benefit the participants (as a motivator to get involved), and I believe the company and the parents will be pleased with the tone I have struck. From a creative standpoint, I believe I managed to add my personal auteurist flourishes while staying within the boundaries of professionalism and ethics of representation. From the beginning, I knew I had to create something suitable for the participants to use practically (in show-reels etc.), and that it should be something they’d be proud of.

I think my strongest asset in executing this project was my organisation skills and professionalism, as I maintained a productive and positive relationship with Lynne and the participants before, during and after filming. My ability to navigate the varying personalities of the kids, and adapting my conduct to account for those changes, was a challenge and a pleasure. Overall, I was dedicated to creating an encouraging and fun atmosphere on set, and I managed to settle their nerves which allowed them to let loose and have the most fulfilling experience possible. In the future, I want to maintain my awareness of what makes my interpersonal skills valuable, and to work on strengthening them to create even stronger content.  

What I have produced is a response to the current state of society, capturing the anticipation felt in those final weeks prior to the end of lockdown, and how it has affected specific individuals as part of a larger community. I wanted to spin something joyful out of the negative circumstances, and remind the audience of the enduring strength of the individual’s spirit.

Link to the finished film:

https://www.youtube.com/watch?v=AzvUMNIfG6s&t=30s

Thank you for reading!

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8. Finding Style in the Edit

The editing process made me realise the extent of how much The Sack Lunch Bunch had influenced my work, and I really leant into trying to re-create its style of dry humour and charm that’s generated from the kid’s interview responses.

I ended up removing the second interview angle I had shot, which didn’t lend itself to the simple style I was aiming for. I opted for an absence of non-diegetic music which allows us to focus on the instances of music in the performance segments more, and doesn’t try and shift the mood in any particular direction.  The positive, lighthearted  tone comes from the content of the interviews themselves, and I didn’t want to distract from that.

As I mentioned previously, I was intent on differentiating this film’s style from other documentaries covering this subject, and I think I succeeded. There is comedic timing in a lot of the cuts, and I don’t shy away from including some of the imperfections in the kids’ speech patterns. I even made the decision not to re-frame the camera for the different interviews, which makes Lottie look adorably small in the empty space surrounding her.  In some segments I chose to include me asking the questions, which grounds the film in the participatory mode and overall gives it a more laid-back, friendly feeling.

My aim in the edit was to ensure I opened up this documentary topic to an audience with broader tastes, including myself, who are familiar with the existing modes of representing young performers and want to experience something different. I believe I combined my love of comedy, the magic that can spring from unscripted interviews, and a genuine appreciation for the subject matter in this project. We end on a hopeful, uplifting note that isn't sickeningly sweet, but instead authentic, as Lottie reminds her future self not to give up on her dreams, and sings about doing anything to get her name in lights – with jazz hands thrown in for good measure.  

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7. The Shoot

I’d now like to give a brief rundown of how I ran the day of shooting, what challenges I faced, and how I proceeded to tackle the issues surrounding representation of the subjects.

I had pre-arranged the times with all the parents and Lynne, and this worked out smoothly, with ample time to spare before we we’re set to pack up (I brought my mum along for an extra pair of hands!).  I knew that the day simply would not work without this level of organisation. Here is the running order:

The biggest muscle I had to flex on the day was my conduct when working with kids. I used to deliver scientific speeches to primary school children at Bradford Media Museum, but I was rusty! I had to consider that open, friendly approach, while also balancing my role as the filmmaker. To get the participants Poppy, Daniel and Lottie in the zone, and to help overcome their nerves, I played a few warm up games with them to get them feeling relaxed and a little bit silly (pretending to chew on fudge, wiggling their arms and legs etc.). As I will explain, the three kids had varying degrees of nerves, but already my biggest aim was to do all I could to create an encouraging atmosphere. I reassured them that ‘I was nervous too!’, and more importantly, listened intently to what they had to say and treated them as equals.  

These were the finalised interview questions that I had in front of me, but I adapted some of them on the spot depending on the type of responses I was getting. The challenge came from responding to their individual personalities, which was actually really fun to navigate. For instance, Poppy, the eldest, clearly had more experience answering these type of questions in front of a camera (for auditions, show tapes), and was even expertly re-framing them so her sentences made sense independently. On the other hand, Daniel was a lot more inexperienced and apprehensive, and I had to take extra care to encourage him in a positive way so he didn’t feel too overwhelmed.

I think in general my treatment of the participants speaks to one of the key overall aims of the film, which is to show a diverse range of personalities within performing arts kids. During production and post-production, I was reflecting on the representations of ‘theatre kids’ within other documentary works, and an obvious example that came to mind was the VT’s in shows like Britain’s Got Talent. I also discovered and episode of a BBC programme called My Life, centred around a young dancer. Both these examples seem to portray the young performer as almost saint-like, as they really push the inspirational music, are usually overly scripted, and have little room for humour. I wanted to celebrate my theatre kids in a more grounded, realistic way , letting their individual personalities shine without any interference. Perhaps if a different documentary was presented with Daniel as a participant, they may disregard him because he doesn’t quite fit the pre-established stereotype of the ‘theatre kid’, but I was determined to show that no matter their differences, these kids’ connection to the world of performing is something really special. I’ll elaborate on how I maintained this idea throughout the editing process.

I’d also like to make a note on my technical filmmaking ability. It is not my strong suit whatsoever, and I highly value content and creativity over technical prowess. The film was shot on 2 iPhones, without a mic (which I had fun and games trying to get hold of), and with two box lights for the interview portion. For the next person, this may not have been up to their standard, but for me, I was more than happy with what I produced. It has a lack of technical flourish sure, and doesn’t look quite as cinematic as I had hopes, but I am so glad I put my energy into the organisation and execution of the film rather than trying to quickly learn the ropes of technology I’m not entirely comfortable with. It paid off in the end, and I personally believe it makes my film more charming!

The shoot concluded on a very warm note, with lots of thank yous and best wishes tossed about, which is all I could have hoped for in the end.

[scalakidsdoc]

6. Organisation and Pre-Production

For this post, I’d like to give a brief description of the timeline of my pre-production process, and how I approached it.

So to begin with, I knew I wanted to pursue the Leeds-based performing arts school Scala. I have known about them for a long time, and have an existing connection to them. My close friend attended Scala for all of her childhood, and her mother works at the studio alongside it’s founder Lynne Walker who established the school over 40 years ago. I got hold of her contact details, and made my best attempt at making the project sounding appealing and worthwhile:

I went into this optimistic but not getting my hopes up too high – Scala is a reputable organisation and may have more pressing matters at hand. And bearing in mind they haven’t opened their doors to anyone for over a year.

The first response was brief, but she wanted to know more details before she took the offer any further. A few days, then a response. She mentioned that she had passed on my ‘brief’ onto Scala’s private Facebook page for parents – promising stuff!

The ‘brief for participants’ I sent was as follows:

Here I believe I provided clear information about the aim/content of the project, keeping the focus on what would be required of the participants themselves, as well as highlighting any safety concerns. I had my COVID safety training certificate at the ready, (courtesy of screenskills.com) and a strong arsenal of COVID-safe knowledge to reassure parents with.

This was followed up by a curt question along the lines of ‘are you expecting us to open our studio?’ which made me sweat a little. My strategy was to approach it as though the studio space would be needed (which I wanted), BUT I had an alternative vision prepared in case this was not suitable or do-able under the current circumstances. This ‘plan B’ version would have relied more heavily on zoom interviews and at-home tapes of performances. In an ideal world, I would be capturing the studio waking up for the first time in a year to have a more exciting hook for the film.

Lynne provided me headshots of the kids who expressed interest – a huge step forward that pretty much confirmed that the project was going ahead no matter what. Gratefully, I scanned their headshots and personal information and chose three kids (out of 6 that were given) at random, to assure fairness. I got back to Lynne with my response to the studio question, as well as who I’d chosen. She responded with the contact details of the parents, and confirmation that she would be opening the studio doors!

CONTACTING THE PARENTS was a delight. They we’re all excited to be getting their child involved in something creative, and for themselves to be getting out of the house and doing something different and fulfilling. We had a few back and forth exchanges over text, then a more thorough phone call. This was really important for me to personify myself to them, and let them know I’m a real person who can talk to them professionally but in a welcoming way. They each expressed their child’s personal experience over lockdown (some having singing lessons over zoom, others dancing in the living room next to their hamster cage) and we’re eager to be involved.

I couldn’t have asked for a better experience in terms of contacting participants – looking back to the beginning of the idea I estimated that this particular group of people (parents of performing children) would be easy to work with because of that enthusiasm to get their children involved. Perhaps I was stereotyping them in a way (influenced by my existing real-world knowledge of parents in this category) and should have altered my expectations to be more open to different kinds of responses that were anything less-than eager. In the end, my expectations were met and they participated with no problems. I am grateful for how smooth this process ended up being, but it is important that I don’t take the behaviours of participants for granted in the future.

We kept in touch across the two weeks as planned – I received fantastic at-home videos as I had asked, and general queries that we’re easily answered. Everything was prepped for 27th March, so I got in touch with Lynne one final time before the day. We had a phone call, I made sure she had the correct shooting schedule, and everything was sorted.

Outside of this email exchange, these were the documents I had in preparation for the day:

-Shooting Schedule (sent to parents).

-Release form for minors appearing in a documentary.

-Interview questions. 

My general experience with the pre-production phase was exceedingly positive. Luckily, Lynne was motivated by a desire to open Scala’s doors finally and get some of the kids in for a small project that would set the ball rolling for when they opened properly in April. You have noticed I kept pushing my phone number, as I am a strong believer in phone calls over messages! Nevertheless, the predominantly email-based exchanges went smoothly, and not only was everything prepared, but the parents had a substantial window of time (2 weeks) to get prepared. The pre-production process built up my confidence about the project and ultimately set the stage for what would be an equally as smooth day of shooting. 

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5. Getting Inspired by Documentaries

(Date 23/03/21)

Since November 2019, I have been logging all of my films on the site Letterboxd.com. It has a handy feature that allows you to filter by genre, so I had a look back on the documentaries I’d seen since then.

I’d like to pick up on three from this list in particular, two of which I’ve seen in the last couple of months to help me get inspired.

1.     Jim & Andy: The Great Beyond (2017) Dir. Chris Smith

Re-watched March 17th 2020 (seen once before)

Firstly, I thought I’d look back on a documentary that had a profound effect on me upon its release. Through archived behind-the-scenes footage of the film Man on the Moon (1999), we follow Jim Carrey’s insane method approach to playing the role of late comedian Andy Kauffman. The way the footage is arranged is astounding: scene after scene of on-set tension is framed by an interview with current-day Carrey who reflects on the experience and what it meant to him. He treats his version of ‘Andy’ as the real man himself, always referring to ‘Jim’ as a separate entity entirely. It gives us a privileged look into the strained dynamics of the shoot, how ‘Andy’ constantly butted heads with the cast and crew, taking his behaviour too far beyond what was considered reasonable and professional. We simultaneously empathise with those around him, who have to put up with the challenges he brings and just want to get through the day, but also marvel at Carrey’s dedication to authenticity and experimental acting. The contemporary interview is full of his spiritual musings on life, which amplifies the theme of practicality VS art (in relation to cinema) as we are given convincing arguments for both sides. The interview is the only new content Smith shot for the film, which proves the strength of the older footage in its ability to form a narrative. As someone obsessed with comedians, comedic acting in film, celebrity pop culture, and the capabilities and limits of screen performance, this film will never stop fascinating me.

This film helped shape my understanding of documentary storytelling, and how a talking-head interview can enhance and drive a narrative. These features, as well as  the film’s themes of performance, I think I subconsciously brought forward into the development of this project. What Smith has constructed is both entertaining and moving - something I need to be mindful of in my own work.

2.     Tickled (2016) Dir. David Farrier, Dylan Reeve

Watched Feb 18th 2021

This was a fabulously tense bit of investigative filmmaking which follows journalist David Farrier and his attempt to uncover the dangerous key players in the ‘competitive tickling’ scene. We are along for the entire journey, from the video that first sparks Farrier’s interest, to a high stakes final confrontation with the man they have been searching for. It’s reflexive style is really immersive - no detail is concealed from us, making us feel like we are making the film together. Every fraught email exchange is intense, and every telephone call with their producer warning them that they may have to cease production because of legalities makes us root for them even more. At its core, it’s a story of overcoming a bully.

We are forever on Farrier’s side; his polite demeanour and sense of humour in the face of negative forces is so endearing. We start with a montage of light-hearted clips of his career until this point, which sets him up as somewhat of a ‘character’ that we can trust, making it all the more engaging when we have to see him navigate these serious situations. As they dive deeper into the world and start to discover more specifics about names and dates, we drift away from the entertaining hook of the film slightly, but this is understandable considering they were constantly in the process of shaping the narrative and had no way of knowing the outcome from moment to moment.  

The filmmaking process on display as it is here, will not be a key aspect of my film, but Tickled is a memorable example of how to make the reflexive mode entertaining – with a strong lead, a compelling story, and a privileged look into the logistics of documentary filmmaking.

3.     Stop Making Sense (1984) Dir. Jonathan Demme

Watched Feb 9th 2021

I knew Stop Making Sense from its reputation as one of the best concert films of all time. Those two forms go hand in hand to create a profound emotional journey- the cinematic conventions are equally as important as the theatrical production itself. The band Talking Heads takes us through their setlist in an ingenious way, starting with David Byrne alone onstage with a guitar and a boombox. Slowly the band members creep in one by one, each contributing to the increasing spectacle. It’s so gradual that, by the triumphant ending you have barely noticed the growing atmosphere. It is a joyful celebration of the live music experience, never shot statically, instead with camerawork that is fluid and responsive to the action onstage. We close on shots of the audience, basking in the pure joy that has been created for them. It is proof that cinema and theatre can work in tandem to create magical experiences. You could argue a strong case for this being a poetic documentary, despite the lyrical music. 

 Finally, I’d like to mention certain segments from John Mulaney & The Sack Lunch Bunch (2019). As part of a larger entertainment variety special influenced by kids shows he grew up watching, John Mulaney gets fantastic interviews with the child participants. Their responses are always unique and charming, thanks to questions that are designed to encourage them to show their personality. They demonstrate a kind of magic that can only be created from unscripted improv (in other words – no one could come up with some of the things the kids come out with), and because they’re so young their perspectives on life always provoke joy. I certainly had The Sack Lunch Bunch in my head when visualising my idea initially, and it’s something I’ll be revisiting when I plan my interview questions (though mine will obviously be more topical – it’s just the loose tone I’m looking to emulate).

[scalakidsdoc]

4. A Quick Reflection

(Date 11/03/21)

I would like to use this post to communicate some general thoughts about how this blog is unfolding. With each week that passes, and I haven’t documented my progress, I get a little more panicked. Rest assured, THINGS ARE HAPPENING! I am currently in the process of emailing participants, making shooting schedules and organising briefing meetings, so ALL IS WELL. More to come on the specifics of these processes later.

But the way I have approached this project is giving me a lot of interesting insights into myself and my personal working methods. I am discovering that I am actually quite good at producing and communicating creative ideas! This project is a daunting challenge, but I feel as though I am making breakthroughs every step of the way. I am aware that essentially, this is a ONE-WOMAN SHOW. I don’t have a production crew, a line producer, talent agents or location scouts – the orchestration of this film is all down to me.

The way I’m phrasing this may sound a little juvenile – because it is! This is officially my first time taking on the role of filmmaker in a professional capacity. But I have confidence in myself, and faith in my organisation skills, in my people skills, and in my creative vision.

This is where my internal conflict with the blog enters: am I rushing too far ahead with production, before I transcribe every thought onto the page? For instance, I am organising shooting dates before I’ve written a post about my stylistic influences! Heavens! What documentaries have I been watching? How have they shaped my plans? Was my idea solidified before I consciously thought about these influences? Admittedly, this last one may be true. I have been relying on my pre-existing knowledge of documentary media, forms I already recognised before doing any concrete research. Reading Nichols’ work certainly helped guide me into the headspace of the documentarian, and familiarised me with key terms, but truthfully – my vision of the final product was there from day one. And it hasn’t changed a whole lot.

How can I work with this then? First of all, I am glad I’m using this post to recognise and investigate this issue I’m having. I’m certainly not trying to say I’m already an expert, and that research is beneath me. No, I am simply acknowledging that there are certain pre-existing structures already embedded in my brain about what a documentary should look like, what it should accomplish, and how one should go about making it. A complex plethora of my personal past life experiences are constantly shaping what I am doing currently in this project, and I have been finding it hard to pin them down and analyse them.

But that isn’t the purpose of this blog, I don’t want to be writing self-indulgent posts about which job equipped me with skills in professionalism or working with children. NAH. I think I’ll put this down as a bit of an awkward stage, where the logistics of production haven’t quite been ironed out yet.  Luckily, I’m at a promising stage.

So, in the next post I’d like to share with you a summary of existing works that have influenced this piece so far. Some will be newly-researched discoveries, and some will have been playing in the back of my mind since the birth of the idea.  

A final cherry of news: the title of the project is ‘Theatre Kids’.

[scalakidsdoc]

3. Familiarising Myself with Documentary (part 2)

(Date 19/02/21)

Nichols, B., 2017. Introduction to Documentary. 3rd ed. Indiana University Press.

I Want to Make a Documentary: Where Do I Start? This is the tenth chapter in a revised edition of Nichols’ acclaimed book. I will note what insight I gained from it here, with personal comments in bold. 

The Starting Point: Pre-production

- Screenplay not needed; world needs not to be created from scratch.

- Involves learning more about the existing world and how we can represent it in film.

- The idea stems from our relationship with the world around us. Something will ignite a passion that develops into a film.

- “It may begin as something about which we know little but want to know more, or something we’ve experienced for a long time and now feel we have a clear perspective on.”

I believe I have already somewhat tackled this initial stage – I have been ignited by a passion for a subject that I want to explore further. My relationship to the performing arts is an interesting one. I have always been adjacent to but not fully immersed in that particular world, for instance, a lot of my closest friends grew up as part of these amateur groups, and are now pursuing it at a higher level. I would always attend the shows, and listen to their backstage experiences. I did GSCE drama, and was always a dancer in the yearly school musical, but never pursued performance further than A level theatre. These combined experiences, a mixture of occasionally being onstage and being an observer, leaves me with a strange, complicated relationship to a craft I greatly admire. I have always felt like it was never in the cards for me to pursue acting as a profession, but I adore the construction of performance and the principles of what makes good theatre. I love to watch it, and analyse it, and I am obsessed with anyone passionate enough to enter the brutal industry of the performing arts. Back to Nichols.

What Is the Film About? What Is the Main Story or Focus?

- “Nonfiction stories can be about almost anything. They need not be about big, important topics to be big, important stories.”

- Short and to the point, or can invite longer, more thoughtful contemplation.

- Filmmaker needs to be driven by a passion to investigate the subject, that’s the key to what makes it compelling.

Why is the topic important? Why does it matter?

- Need to convince investors, financers, crew that the film is worth their attention.

- Proposal/ pitch vital.

- How will the project benefit those involved, send a message, make societal change, advance the art of filmmaking?

- “paint a picture of why it is important that the film be made and what the finished version will be like.”

- Persuasive language/ writing (why the filmmaker is a credible figure, offer convincing arguments of why the film should be made.)

- A clear understanding of the desired result can help the production process.

That last point is very important; It will be the best use of everyone’s time if we enter the shooting stage with a clear schedule, storyboards, interview questions etc. I will endeavor to make sure these are prepared and ready in plenty of time for peace of mind. I will of course develop these in the near future.

The pitch/ project proposal will be of great importance when I begin to communicate with potential participants. I want to make their involvement in the project appealing and worth their time and effort – to them I will be describing how I foresee the end result. I will be put to the test on how I come across professionally, but luckily, I can apply my existing people/conversation skills to this uncharted territory.

Some ideas I touched on in my first post that I believe will help convince the participants are:

- It will be a change for young talented people to show their passion and skill. A polished project like this will represent them positively, and will look good for any potential employers/ casting agents for jobs they want now or in the future.

- It will raise crucial topical questions about young people and their relationship to performing – how the industry is becoming increasingly unsupported by the government and yet the passion of the individual rages on. The company will hopefully want to be aligned with this sentiment, and convey an inspiring message to the audience.

Why should you be the one to tell this story?

“A coherent, compelling, well-written, or clearly spoken proposal by someone who knows his or her subject, knows what must still be learned or discovered, and conveys a passion for making the film is already well ahead of the game.”

- Demonstrate why you should be at the helm because you are passionate, and have done solid research.

What result do you want the film to have?

- No true answer – may be to provide a “captivating visual experience”, “chronicle a historical event”, address a societal issue etc.

- A clear idea of the film’s goal will help the proposal (which again, helps the production process.)

As I visualise it now, in this early stage, my film will rely on content that emerges from interviews, but the message will be reinforced and elevated by the visuals. For instance, one of the kids rehearses alone, in an empty studio, to highlight the disconnect between the now and the pre-pandemic, as the rehearsal was once a communal act among peers. I will definitely want to use some theatrical conventions (e.g stage lighting, costume) to reinforce the theme and play with performance. I will need to work out what elements will be pre-planned (e.g. organising with the talent if they need to prepare a performance) and what will emerge from the content of the interviews. Will it prompt any spontaneous new ideas? I should prepare for this, and allow room to manoeuvre around the shooting schedule.

What form will the film take?

- Narrative, poetic, or rhetorical?

- Will the film advocate for a solution/ approach to an issue?

- What mode works best has to be decided in relation to the specific project.

- Knowing what to avoid, what will work against your desired outcome, can also be valuable.

- Brief treatments must have an element of the cinematic – a beginning middle and end, and the language should create suspense and curiosity to discover more.

- Gather visual material (sketches, examples of other work) to help illustrate how the film will look and feel.

This final section inspires me to go ahead and start planning, creating storyboards and gathering existing examples that I can be inspired by. From there, once I have a CLEAR plan in mind, I can begin scouting for participants.

This will be the content over the next few posts. I will also be examining several acclaimed documentaries I have seen recently, looking at their strengths, and what aspects I can pull from them.

[scalakidsdoc]

2. Familiarising Myself with Documentary (part 1)

(Date 18/2/21)

As someone who feels more comfortable and literate in the world of fiction film and its practices, the choice to create a documentary was meant as a challenge for myself. To start from the very beginning, I would need a refresher! For help, I looked back on an author I glanced at in a previous semester’s module, Bill Nichols, and his proposed definitions of documentary modes. 

To ease me in, I looked at the simplified definitions in this Masterclass article: https://www.masterclass.com/articles/film-documentary-guide#6-types-of-documentaries.

I will also be interjecting with what Nichols himself has to say about each mode, from his Introduction to Documentary book, as well as anything else I discover along the way that is related.

So to begin with, we have POETIC mode.

Masterclass summary:

- Favours mood, tone over linearity.

- Little/ no narrative content, so striking imagery is key.

- Tell a story without words.

Nichols’ insight:

- In line with avant-garde filmmaking.

- Reliant on rhythms, spatial juxtapositions.

- Less traditional in the sense that it presents the artist’s view of the world rather than capturing objective reality.

- Stress on fragmentation and ambiguity goes against order and wholeness.

To further help my understanding, I turned to YouTube for some visual accompaniment. A simple yet informative video titled ‘Modes of Documentary Explained’, guided me through this learning process by showing examples alongside the description.

https://www.youtube.com/watch?v=nnYIPVqNTdM

Youtube video:

- Used the example of Sans Soleil (1983) -collects footage and presents it in a collage-like format. Ponders topics such as memory and society.

- “These are docs that are completely unconventional.”

- Organized by rhythm/ tone to convey the point to their audience.

Next, the EXPOSITORY mode:

Masterclass summary:

- Voice of god voiceover (narrator not seen physically)

- Offer specific point of view on a subject.

- Footage must support/ strengthen filmmaker’s argument.

- E.g. historical recount of events

Nichols’ insight:

- ­­Assembles fragments into argumentative frame.

- Voice of god tradition – professionally trained male voice over artist common.

- Rely heavily on narration providing logic/information to the audience.

- Images support, evoke or offer counterpoint to the words spoken.

- Editing supports the linearity of information, rather than creating rhythm.

- Emphasises objectivity and the importance of the well- supported argument.

Youtube video:

- Created to get a clear point across.

- Example of Attenborough nature documentaries.

- The film 13th(2016) explores topic of race, prison industrial complex.

- Blackfish (2013)

The PARTICIPATORY mode:

Masterclass summary:

- Interaction between filmmakers and subject.

- Direct engagement with subject, provoking emotional response.

- Interactions prove the film’s intent/ purpose/ message.

- Bowling for Columbine (2001) (but this one also blends expository and performative).

Nichols’ insight:

- Link to social science and the study of social groups (one must interact to gain information.)

- Interviewer must retain a degree of detachment to differentiate themselves from the others.

- Audience expects to see interaction rather than mere observation.

- Involves “ethics and politics of encounter.” (Relationship between filmmaker and subject, who wields control/power, can you demand a testimony?)

- Bodily presence rather than absence = the expectation that the narrative will depend on the encounter. (In other words, the interaction itself will disrupt or provoke a new development.)

- “The possibilities of serving as mentor, critic, interrogator, collaborator, or provocateur arise.”

The OBSERVATIONAL mode:

Masterclass summary:

- ‘fly-on-the-wall’.

- Style embraced by/ linked to the cinema verité movement.

- Observing without interrupting.

Nichols’ insight:

- Most control is abandoned in favour of capturing moments spontaneously.

- Lack of elements like voice-over, music, re-enactments, no interviews.

- Attention is drawn away from the filmmaker’s presence when the characters experience problems of their own.

- Raises ethical questions of voyeurism, and responsibilities of intervention.

Youtube video:

- The filmmaker being ‘invisible’ is rather impossible: they have still constructed/ edited the film.

- They choose specific scenes to frame the narrative.

- Rough Aunties (2008)

The REFLEXIVE mode:

Masterclass summary:

- Focus on the relationship between the filmmaker and the audience.

- Behind the scenes footage of the filmmaking process itself.

- Man With a Movie Camera (1929)

Nichols’ insight:

- The filmmaker speaks to us about the process and issues of presenting their story.

- Raises questions of realism, traditional conventions are played with and exposed. (we may see any point of production e.g. the editing room or setting up/ construction of the interviews.)

- Draws attention to our expectations of documentaries.

The PERFORMATIVE mode:

Masterclass summary:

- Relationship between filmmaker and subject is the starting point.

- Footage captured is a combination of the process of filmmaking and the intimate relationship between the filmmaker and subject, for example, Supersize Me (2004).

Nichols’ insight:

- Raises question of knowledge – what form does it come in?

- How do institutional frameworks shape our understanding of the world – this is what the reflexive documentary can address.

- “Performative documentary underscores the complexity of our knowledge of the world by emphasizing its subjective and affective dimensions.”

(Personal reminder: SUBJECTIVE = influenced by or based on personal beliefs or feelings, rather than based on facts. OBJECTIVE = based on real facts and not influenced by personal beliefs or feelings.)

- The filmmaker and subject’s perspectives are highly situated and personal – makes performative documentaries more expressive.

- Tone and expressivity remind us there is more to the dynamics of the world than what is based in concrete fact and history.

Youtube video:

- Direct opposite of observational films

- Emphasises the filmmaker’s involvement.

In reflection, this is just the basics. At least, it is a good jumping off point for further investigation and this information will serve as a framework that shapes my creative decisions in the near future. The next step in my process will be how to apply these ideas to my work and end up with a bold and engaging piece of entertainment.

Next, I will be looking at a chapter from the revised version of Nichols' Introduction to Documentary that contains a chapter titled "I Want to Make a Documentary: Where Do I Start?", which of course sounds like a must-read at this moment in time. Hopefully this next step will start to nurture my skills and knowledge of documentary, and offer creative approaches I will be able to experiment with.

[scalakidsdoc]

1. The Birth of the Idea

(Date 11/02/21)

1: The Birth of the Idea

Welcome to the first post in my production journey! Underneath I will display a series of bullet points, that flesh out my initial idea that was scribbled onto paper. This is sort of a melting pot of my ideas on themes, subject matter, practical approaches, and how I will conduct relevant research (and how will it help me?). The bullet point format is to provide myself clarity when I revisit the key points later.

NEW IDEA:

Kids in performing arts

- (Within an amateur company)

- Explore their goals and aspirations.

- Unique personalities and perspectives

- Appeal to wide audience

- Unbiased, un-cynical perspective on the arts (through child’s eyes – innocence)

- Themes of passion and drive

- Potential questions of what theatre means to them, what they think of the industry being damaged

- How they’re doing in school, what they’re lives are like outside of performing.

- Will have to choose the most driven kids for this to work

- Goal – to boil down artistic ambition to it’s most innocent form, and clear some of the fog surrounding the current debate about the arts and how necessary it is. Affected by the pandemic and the Tory-led government.

- Interviewing the subjects as individuals – slightly bleak reminder of the fact groups can’t rehearse. Still give opportunity for them to shine as individuals.

- Intercut with clips of them working/ rehearsing/ performing.

- If we could get them onstage for a solo that would be great. Perhaps final shot of empty audience to drive home the message.

- Practicality: already DBS checked and have some existing connections. Final product would benefit the subjects (content for their showreel, evidence of experience, advertisement for the company etc.)

Key Research Areas:

- Talking head documentary style

- Styles of documentaries in general (familiarise myself)

- How interview-documentaries have been operating in the restrictions

- The subject matter – have similar documentaries already been produced? Children and their relationship to performing.

- Children in performing arts and their relationship to school, or any other information regarding them.

- The state of the theatre industry since the pandemic, how the future seems unsteady, the government’s involvement (or lack thereof).

- The government’s relationship to performing arts in schools/ for young people pre-COVID.

- How to interview children, how to get the best most compelling content from them. (pre-planned? Off the cuff? Kids of same age or a variety?)

Potential Interview Questions:

(Who, what, where, when, why.)

- What do you love about performing?

- Why do you want to be onstage?

- Who do you look up to/ want to be like?

- What sort of roles do you like to play?

- Do you miss performing/ being a part of a group?

- What would you do if there was no such thing as theatre?

- What is your favourite part you’ve ever played? Why?

- What are some of your strengths? (best at singing, dancing etc?)

- Why isn’t much theatre happening at the moment?

- How do you feel about that?

POTENTIAL IDEA:

- Song choice: Maybe this time from Cabaret. To conclude.

- Hopeful yet melancholy tone. Potentially the overall tone of the piece?

- In context: Sally Bowles performs with passion to a near-empty audience. The word “maybe” looks to positive change in the future.

THOUGHT:

This project has to be 3-5 minutes long. I will perhaps edit a longer version that SCALA can use that has more substance (will perhaps be defined as the ‘true’ version, but the shorter will be submitted)

TO THINK ABOUT:

- How I will approach the subjects/ those involved

- The necessary paperwork

- Working with children/ location permission

- Need to outline how I will pitch the project to the person in charge/ who will make me connections:

- E.g, what is the point of the project be? Why should they be involved unpaid? What message am I trying to get across? How long will it take (logistics), when will it happen? Whats my production schedule?

- Will need a clear schedule, and organised storyboard/ structural plan before I approach anyone.

- May be good to plant the idea in their heads just so they’re aware.

NEXT STOPS:

- I think, first, make a loose plan of how I would like the final product to appear. This means writing down structure, questions, shot types, beginning/ middle/ end.

- Research my relevant topics! Write short entries about what I have learned and how I can apply the information to appropriate areas of the project.

- Form a ‘pitch’ or a short summary of the project that will help get the subjects interested and involved.