So you want to make a documentary about shopping carts?

Last week we discussed how the most important element in indie doc making is your intention: what is it you are trying to do and why? This week we will examine another crucial choice in the filmmaker’s journey: how to find a great story.

As any good writer will tell you, the number one rule in finding a compelling story is to “write what you know”. The same is true of filmmaking. Just like writers of non-fictional work, documentarians must have an intimate and comprehensive knowledge of the subjects of their films. The challenge for both is finding something that ignites the creative passion. Unless you are passionate about the subject you have chosen, your work will not be wholehearted. You may not be willing to make the kind of sacrifices necessary to see that the job is done to the best of your ability. So where do you look to find the story that is going to set your doc making soul on fire? And how do you know, after you have made your choice, whether or not you have found something that will stimulate others to come see your efforts on screen?

The reality is that these questions represent two sides of the same coin. Obviously, if you knew of a subject for which there was already a large and enthusiastic audience, it would make it easier to become passionately involved. The only problem is that the larger the number of fans, the more likely that others are going to try and capitalize on the popularity; meaning that it will likely be a struggle to distinguish your work as unique. Thus, we have arrived at my first recommendation in your pursuit of the perfect subject matter: don’t worry about the popularity of the subject, but rather worry about your commitment to telling its story. Here, as in many other areas of our art form, you will find that you just have to trust your instincts. I guarantee that if you know your subject well and are passionate about it, you will always find an audience for your work. That is not to say that the world is going to come breaking down your door and raise you upon its shoulders and parade you through the streets of media superstardom. It could happen, but it’s unlikely. Nevertheless, the fact remains that as humans we appreciate passion in the arts and the effort that it engenders, regardless of the subject matter. For example: last year Zaheed Mawani took home the top prize for Documentary Short at the prestigious Atlanta Film Festival with his piece about the modern, office cubicle. That’s right, I said “office cubicle”. The film is entitled “Three Walls” and tells the history and social significance of the office cubicle as a cultural phenomenon. Both the cinematography and story narrative are beautifully crafted, but why in the world did Mr. Mawani choose to do a film about something so mundane? Was there an obvious public appetite for the subject back in 2009 when the film was in early production? Hardly. And yet Mr. Mawani persisted and we see how it has paid off. While some may argue that the film’s success was a fluke, or discard it as luck, I tend to agree with the famed, Hollywood producer Richard Evans who once said that, “Luck is when preparation meets opportunity.” In other words, if you are passionate about your work and put forth the effort to prepare yourself appropriately, then when the opportunity arrives for you to tell your story, others are going to respond favorably. Mr. Mawani’s success only supports this contention. It’s the level of commitment in the telling of the story that truly matters, not the subject. So when it comes to the question of where to look, my recommendation is to look everywhere. Do not constrain yourself to the small pool of stories that are considered popular or socially interesting. Instead, find something that you truly care about and dedicate yourself to telling its story to the best of your ability. Stories from your own family, your neighborhood, your work, your wife’s work, your kid’s school, even your neighbor’s kid’s school, all of it should be fair game, (even "shopping carts"). Often it is in the areas that are most routine in our lives that we find the most compelling subjects.

Next week we will look into how to effectively research your subject and the importance of being well organized during pre-production. Until then, here is a link to the film that is the inspiration for my next project, American Dachau. It is called Stonewall Uprising and tells the story of the Gay riots that occurred in New York City in 1969, enjoy. 

http://www.pbs.org/wgbh/americanexperience/films/stonewall/

The most important element of documentary filmmaking.

At no other time in the history of filmmaking has it been easier for even the novice to make high-quality, professional-looking documentaries. Recent technological advances in image capture, sound recording, and non-linear editing, combined with the near overwhelming amount of information available via the internet, have made it possible for virtually anyone with a camera, computer, and microphone to create compelling, non-fictional content.

Over the next several months (or, until Randy realizes he’s hired an insane person and pulls the plug) I will be discussing with you some of my experiences and insight into the rapidly evolving world of indie and mainstream documentary filmmaking; including the technological advances that are literally re-shaping the genre. They will be posted here and as an exclusive feature on the NexTV Entertainment website (www.nextventertainment.com).

BUT FIRST, a disclaimer: as any filmmaker will tell you, filmmaking is an individual journey. Every filmmaker has their own unique style and method for getting things done. So long as what you are doing is working, then I say, “soldier on”. By “working” I of course mean that you are making films. If what you are doing is not leading to that one, all-important goal, then something is wrong and maybe I can help.

Now, I do not pretend to know everything, but I do know some things. That’s what I am here to share with you. But by all means, if you know of a better way, or you just think I am an idiot who needs to be put in his place, you can find me at the following email, info@johndavidflores.com. I will gladly read whatever you send, and maybe even include some of your ideas or suggestions here (unless they are personal in nature and involve some type of contortion).

So then, let’s get started with our first topic: What is the most important element in making a documentary?

Over the past four decades, American cinema and TV have experienced a shift in creative emphasis in which the aesthetic quality of the image has begun to supersede the importance of a well-written and compelling story. Perhaps the best examples of this are seen within the action genre. Films like Avatar, and Michael Bay’s Transformer series have been widely praised for their amazing visual design and graphical effects. At the same time they have received the wrath of film critics for the seeming lack of concern paid towards the development of a good story. The worldwide popularity of these films has led some filmmakers to question whether or not the story is still the most important element in the hierarchy of creative choices. So then, which is more important: the quality of the story or the quality of the visual image?

For those of us committed to the non-fiction genre the answer may seem obvious. And yet one cannot help but notice that the majority of networks featuring non-fiction programming seem to be oriented around reality shows and serialized documentaries that are thematically sensationalistic; emphasizing the action of the characters instead of revealing the underlying story of their condition. So again, which is more important, the story or the visuals? As with all things having to do with the creative arts, it really depends on your intentions.

To say that the story is the most important would be to ignore the popularity of films and TV shows that are visual-centric. At the same time, placing an overemphasis on the visual elements is a contradiction to the old adage that “great films come from great stories”. Thus, your intention should be the guiding principle in deciding whether to focus your efforts on creating a visually compelling piece or telling a compelling story. And don’t forget, there is always the option of doing both.

Next week we will discuss strategies that will help you to find a compelling storyline, and the role of contemporary social issues as a potential influence on your decisions. Until then, here is a link to a marvelous documentary in which both the visual and narrative elements are excellent: click here to see the doc in its entirety. Have a great week everybody.