The Documentary Filmmaking Master Class by Betsy Chasse

Author:Betsy Chasse
Language: eng
Format: epub
ISBN: 9781621537229
Publisher: Allworth
Published: 2019-03-09T16:00:00+00:00

CHAPTER 12

How Do I Get What I Want from an Interview?

Before we discuss the art of a good interview, let’s explore how we choose whom to interview and in what order.

For most films, the interview subjects present themselves. They are experts, or they are actual participants in the story. There are a couple of ways to approach this, and then there is simple practicality and budget.

If you can, make sure that your most important interview, your main subject or expert, is available to do multiple interviews. I do an initial interview with them and then go out and do corroborating interviews, and I may need to go back to my main subject to clarify something based on what came up in other interviews.

This may be easier said than done, especially if your main subject is hard to get to (i.e., geographically) and if your interviews are spread out around the country or the world and your budget doesn’t always allow this. If you’ve got one shot to film your main subject, at least try to arrange additional Skype/phone interviews. Much can be done with the audio captured from those subsequent conversations. If you do this, make sure your audio quality is as high as possible, so you can use it as voice-over later, and always make sure they are aware you’re recording the conversation.

I try to get as many interviews as possible. The more the merrier. Even if I have twenty-five interviews, it’s my practice to use only the most important and fully relevant subjects. It can get confusing for your audience to have too many voices and/or people to keep track of in the film. However, having as many options available makes the editing process a whole lot easier. It also informs you better as a filmmaker and can help you avoid any contradictions or misinformation. If you have two subjects with very different views or versions, you can either choose one or explore that contradiction in the film.

Another option is to record a Skype/phone interview with your main subject first, go about filming your other interviews, and save the main subject’s actual filming for last. Again, make sure your audio quality is high, and if you can, set up the Skype camera for them in such a way that you could even use that footage if needed. In this option, you can have all your notes ready from your previous interviews and your Skyped conversation with them and be prepared to go deep and get all that you need to cut your film together.

With either option, if time permits, have each interview transcribed immediately and pull your pieces together into a rough cut or a paper cut. (I’ll explain these in our chapters on editing.) Doing a rough edit as you work will help you know what questions you must have answered in order to cut the film together.

This isn’t always possible when you’re doing interviews back-to-back, so copious note-taking and watching interviews as you fly, drive, or travel will help.

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