Evan, I'd also recommend another book, Media Law for Producers.
Feel free to e-mail me if you would like a sample plain-language
hello all, I recently introduced myself on this site and posted a
question on including yourself as a documentarist in your d-film. I
did read the conference about personal documentary but it was
slightly different from what we (my sister co-documentarist and me)
want to do.
We are not making a personal documentary, but a doc about a young
danish filmmaker trying to get his second short film finished and
We are almost finished filming. Thursday we go to Danmark for the
last shots; the premiere, and some last interviews. It has been a
struggle and we want to do the editing right. We have good material
but we have to make some important choices now. So here are some
questions we hope to get answered before we start editing.
We are friends of the director and the leadactor. Besides filming we
also helped out with some pre-productionwork for the film and
functioned as mental support for our friends sometimes. I had great
trouble changing role but managed it in the end.
Thing is if you look at the group we were part of it. For example;
To get the group-atmosphere we want to include some scenes we came
to calling the 'dinertabletalks'. We are present at these
dinertabletalks and in shot sometimes. At one point when things
almost got out of hand we let the producer know we were worried
about one of our friends which resulted in her cancelling another
Our idea about this is that we should show we were there for the
sake of pursuing truth and all. On the other hand it might cost us
all the credibility we have, if we show our own involvement. Our
question is should we edit this thing around us or not. Personally
we like the idea of subtly including ourselves but we also wonder if
that is not a trap every documentarist falls in. In other words are
we making a beginnersmistake?
Another question concerns language. We and the leadactor of the film
are dutch, the rest of the crew is Danish. The language on set was
mostly English, but in heated moments or sometimes off-set they
changed into Danish. We have someone to translate it so that is not
a problem. We decided to interview the dutch-speaking guy in Dutch
because we thought it would look strange to have a dutch person
speak English in a dutch documentary. Only now we have three
languages in what is gonna be a 30 min. documentary. We are afraid
this will cause confusion. Can anyone tell if this fear is justified
and if so what we can do about it? (The doc is also getting an
Since this is our final project of our study journalism we have to
write an essay as well. We chose to explore the presence of the
documentarist in the documentary. How far can you go, how far should
you go, what are valid reasons, what are the effects, etc. Can
anyone tell us where we can find in-depth information and examples
of this? We have searched the net, and found this forum
A last question. We want to include a scene in which our subject
watches his short with a professional (director, teacher etc.) We
had arranged someone from the Danish filmacademy but she suddenly
changed her mind. Peter Aelbeck agreed to watch it but will only
know after seeing it if he has something to say about it. (he is a
producer and maybe not the best person to comment on the film) We
tried most Danish directors but they all said no. Does anyone have
an idea of who we can try? We are gonna call the academy again, but
time is getting short to arrange this.
Thanks for your time.
Rianne, can't answer your last two questions but the simple response
to the first two is if you tell a good enough story NO ONE will care.
There are so many docs that have included their makers (including
verite docs where suddenly you hear a question from the filmmaker off
camera, or see the crew included in a shot) that few if any will
question your decision.
My own feeling, without having seen the footage, is if you can
exclude yourselves from the story, it is cleaner and less confusing,
but whatever... To me, the mulitple language question is a non-
Just be honest and include yourselves. Use narration or title cards
to explain the constellation.
I once filmed an interview with a British professor twice: First in
English for the English version of the film, and then in German for
the German version, as his German was excellent. But the poor man
seemed totally exhausted during the second part of the interview, so I
wouldn't do anything like this ever again. Well, the prof was almost
90 years old, but still... When in doubt, always opt for interviewee's
As for professionals to give their opinion the guy's film, what about
About Mogens Rukov; he is a teacher at the academy and we tried to
contact him as so. So the waitinggame begins again.
I am still in doubt of in- or excluding ourselves, but decided to
include us and see what happens when we start editing after this
last trip to Denmark.
Enjoy the idfa if you are going, and thanks for your replies &
You're welcome. Good luck, Rianne. Maybe see you at IDFA?
I'm new to all of this. As I said in my introduction, I've been away
from video and film for about 10 years. I'm really struggling to
figure out the best way to switch careers and at the same time learn
all I need to. I know a lot about the production process in general
and what it takes to get a production completed sucessfully (many of
Doug's old journals rang very true to me at one point in my life.)
My passion has always been editing and it certaily feels like it is
still that way. I did a whole lot of work "back in the day" with the
Avid Media Composer and I don't think it'll take that long to get up
to speed (went to a demo last week and it felt like getting back on a
bicycle.) I don't have a lot of cash laying around to go and buy a
Final Cut or Avid Mojo system so what's the next best thing to get
back up to speed on all of this tech?
My perspective might be a bit skewed as well, considering I've been a
technogeek for all this time! I'm just feeling confused about the best
way to get started.
Do I go into debt to buy one of these and a camera and do weddings to
pay it off?
How do I get a body of work when I have nothing to edit or edit with?
I plan on going back to school at Duke in the next year or so at their
Center for Documentary Studies, but what should I do up until then to
get into the game?
Am I being impatient?
I know this is a lot of crap to just dump out there, but I would like
to get some more perspective from people who have been through this
Thanks for listening,
Here's my 2 cents, Aaron. Get Final Cut Pro. Ideally, the new G5
and FCP 4. Complete with 2 monitors and the works, probably would set
you back $6,000 to 7,000. If you can't afford it, get a used system
for half the price.
Edit some weddings, anything, to pay it off. Get really proficient
at it. Then, find a way to start cutting docs.
A body of work doesn't happen all at once. It builds up slowly over
the years. Take it one work at a time. And just stick with it. Stay
in the game.
Lots of luck.
am in Denmark at the moment getting our last shots. Can only attend
IDFA on the last sunday, which ofcourse I will do.
Rianne, I'll make sure to post this within The D-Word Community, as
well. Good luck.
(Just so you and others know, the Classifieds topic is the better
place for notices like this.)