At first I loved learning all the tricks of documentary filmmaking.  Until this thought showed up at my door…

How is my work thought-provoking, when it imitates countless works that audiences have already seen?

So I started un-learning stuff. Including these 3 things:

EX-RULE #1

When interviewing guests, cover a range of storylines. Figure out the best option in post.

Directors call this covering yourself. Or, playing it safe.

When looking back on my work, I notice the times I didn’t play it safe had audiences feeling energized.  As if the ambition of the filmmaker somehow gets imprinted in the film itself.

So instead of leading a guest down several story possibilities, I laser focus on what I really want to use.  I’ll tell them “lets go deep on this point” and even “we don’t need to cover that”.

TIP:  Usually this is only possible after I’ve conducted a pre-interview call where we do kick around all kinds of storylines.  But the day of the shoot, laser beams.

EX-RULE #2

When filming subjects, tell them to “just be themselves”. “Pretend we’re not here.”

I used to say this until I was interviewed and someone said those word to me.

My perspective changed that day. Because for a guest who is in front of the camera, they see lights, monitors, cameras, and a lot of strangers staring right at them.  It’s nerve-racking!

Instead of burning up mental energy pretending the crew is invisible, I encourage the guest to be distracted with something else. Something meaningful.  Join me as a collaborator.

Before each scene, I’ll quickly cover with the guest -

_  what we’re looking for in this moment

_  how that relates to the larger story

_  and if they have suggestions to make it better

For some people the comfort of knowing what’s happening can lead to a comfort in the process.

Then… right before rolling I ask them to be emotionally, mentally, and spiritually present in whatever we’re filming. And you know what?  I find it works.  And often times, very powerfully.

EX-RULE #3

When filming b-roll, be a fly on the wall.  Prevent real moments from becoming “forced”.

The editor in me often gives the director in me notes.  And sometimes they’re brutal.  One day Editor Jonah told Director Jonah that although his b-roll was tasteful and honest, it was boring as hell.  Which put a limit on connecting with the story and people.

I realized if I fail to bring something special to a scene, audiences are withheld from feeling something special watching it.

So I changed.  I made it my job to bring the special.

Today, I like to blend storyboarded moments and real living into one flavorful smoothie.  Before and during the shoot day, I’ll pull from, share, and sketch loose storyboards.  My goal is to find one to two camera angles that clearly convey the story - while providing helpful body body language and emotional facial reactions.   Anything filmed beyond that is a bonus.

This can cause a sizeable reduction in footage, but I’ll buy one amazing moment over a handful of okay ones any day.

The stuff of a great story never changes.  But how you get there can.

Happy learning - and even unlearning - to find what works best for you!