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- With documentaries,
your time spent preparing
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and getting to know
your subject will likely
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far outweigh the time you're
actually conducting interviews.
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Ensuring their comfort with
you and the environment
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they're in is what will allow them to feel
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they can open up to you on camera.
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There are different opinions out there
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on whether or not you should conduct
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pre-interviews ahead of time
with your documentary subjects.
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I actually think that you should
conduct them ahead of time
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to give them some idea of what
they're going to be asked.
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Don't necessarily be afraid
of losing spontaneity.
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You can always save a couple of questions
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that they haven't heard before
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for the end of your interview.
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Just like you want to do with your actors,
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you want to get to know your subjects
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before you interview them and engage them
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during your setup.
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Keep them aware of the process
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and what's going on around them
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just like you do any other non actor.
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And always make sure they're
physically comfortable
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and sitting or standing
in a comfortable space
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that they're used to.
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A lot of times you're
on set with these people
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in their homes or where they work,
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so just make sure it's a
comfortable space for them.
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Here's a clip of an interview I did
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for a documentary recently
where the subject wasn't
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very comfortable as we got started.
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But when we were able to warm him up,
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make him comfortable
with the interview itself
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and with us, his performance
improved greatly.
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- So I think part of
what I've been asked is
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how literally should the art
be interpreted for game play,
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and I think myself as an
artist, I always felt...
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So I like for the art to
be open for interpretation.
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I had a train of thought and I lost it.
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My apologies.
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- [Man] We can always
circle back like I said.
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- These are hard questions (laughs).
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- [Man] Keep in mind there
are no right answers.
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- Okay.
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- [Man] And no wrong answers.
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They're just your thoughts on this.
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- Sure, yeah.
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- [Man] It's totally cool.
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- And even with paintings when you look
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at the Pre-Raphaelites, the Waterhouse,
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when you see those paintings you know
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you see a beautiful woman
floating in the water
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and you go, "Oh, she's so lovely."
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And then you realize she's dead.
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And it instantly creates a
story, you're interested.
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It's like why is she dead?
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What is going on here?
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And if you look at my work,
you'll see that it's not
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just skulls and scary things.
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There's usually a mixture of that darkness
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and the beauty and I think
it's the contrast of that
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that I'm drawn to.
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It's inherent drama and it creates a story
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and it makes people
curious at what's going on.
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- When you're conducting
a documentary interview,
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you want to make them direct
their responses to you,
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not the camera if possible.
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You want to make it a conversation.
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It needs to be easy and it needs to flow.
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Remember you're helping
someone tell a story
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just like you were having a
conversation with a friend.
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If something isn't working,
you can always circle back
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and rephrase the question if necessary.
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Just put it on your list for
something to go back to later.
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And one thing you could
try is to always keep
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the camera rolling even
after the interview is over.
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You never know what you're going to get
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when they think the camera is turned off
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because they're more comfortable with you
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and not so concerned
about being on camera.
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And afterward you can always show them
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that great take that you would have missed
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had you not kept the cameras rolling.
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For more tips on working
with documentary subjects,
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be sure to watch Ashley
Kennedy's great course,
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Learning Documentary Video Two Production.
6874
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