Production: Role research

To better understand my crew's roles and how I fit in with how they are working I did research into all four roles and what they do during the production and post production process.

Producer

“If the director is the captain of the ship, the producer is the hull of the ship that gets smashed in the face with icebergs, and whether it even continues being a ship is up to the hull of the ship, not the captain” producer Ben Wiessner 

Broadly speaking across all genres the aim of a producer is to bring a film idea successfully to the screen. They need to organise and manage the cast and crew in order to reach this end goal. 
Within the documentary genre the director and producer are usually the same person. 
The producer's role is to bring a film idea all the elements it needs to reach an audience, including:

• developing the idea with the director
• anticipating the key audiences for the film
• seeking funding
• creating .a budget and schedule
• working with the director to appoint key crew members
• overseeing all contracts required for the production 
• reviewing the creative progress of the film
• ongoing negotiations with financiers, the producer often acts as a bridge between the vision of the director/filmmaking and the needs of the commissioner/financier

Creative documentary: theory and practice

Because the roles are usually intertwined with each other when they are separated the director and producer need to be hands on with each other and work together to achieve the same thing.

I contacted Diliana Deltcheva and asked her about producing, she said: As the producer my job is to think ahead, adjust quickly and give people space when needed. 

She also suggested that the level of input a producer has on the filming and post-production process is- mostly about how to shoot more efficiently and how to uphold the integrity of the creative.  I keep communication flowing, I challenge ideas, I come up solutions to problems - basically nothing goes without me knowing about it. If the director is doing a great job and we are aligned - then I leave them alone and let them do their job. 

Director

On the crudest level there fore, directing could be described as giving direction to the creative contributions of a production team and onscreen participants in order to achieve a coherent and unifying narrative vision- Creative documentary: theory and practice

It's the job of the director to see the underlying story and to use their creativity to bring these thoughts, feelings and emotions to a documentary film.

How my role works with the Director during filming and editing

I contacted various producers during the pre-production period and another during production research to find out how I can interact with Jemma as she is our director.

Lis Olgati said- A lot. We work very closely throughout the whole process. The Producer is the one who tends to find the contributor or get the access, and maintain those relationships, allowing the Director to fulfil their vision for the film. During the pre-production period I found our contributors and locations, I also negotiated the level of access we had for these areas.

However during the filming and post-production process Diliana suggested-I let them lead the creative. I will only give notes once the director is close to where they want to be, but before sending to the client. If there is no client (Studio, Network or Agency) then I am much more hands on in collaborating with the director. I basically become the client. I just try to openly communicate my thoughts and opinions in a diplomatic way. From this I understand that I need to clearly and regularly communicate with Jemma through out the filming process especially seeing as we had developed the idea together, I should be able to do this easily.

Director of Photography/Cinematographer

Cinematography is very much about dealing with these issues, but using the tool of the camera to capture the necessary images to do so.Being a good cinematographer is therefore not about being good with a camera....it is principally about knowing how to use the camera to see...the DOP is responsible for what is to be captured and how.- Creative documentary: theory and practice

Your concerns as a cinematographer should be focused on four principal things: composition, movement, lighting and texture. - Creative documentary: theory and practice

How my role works with the DOP during filming and editing 

When in contact with Rob Fletcher another documentary producer he said the interaction he had with his DOP was - Tried to be as light touch as possible during the shoot/edit process.

Due to this I will still have an opinion on what is happening, however as a producer it's isn't always as important as Jemma's is. However because I will be collaborating with Jemma while filming happens I don't see this being an issue.

Editor

The more you and your editor share a common understanding, the more likely that the solutions that your editor proposes will find favour with you - Creative documentary: theory and practice

The editors role is vital in the story telling process when deciding what stays in and what doesn't. They're responsible for assembling recorded raw material into a finish product that will be sent for broadcast. They work closely with the director to achieve the end result.

How my role works with the Editor during filming and editing 

When asking Diliana Deltcheva about the role of producer with the editor she said it really depends on the project perimeters but If I am involved during post it’s usually to manage the communication between the client and director ( if they are involved in post )  & editor. I guide the editor and gives notes on the creative based on my ability to interpret what the client wants & what would make for the best final product. Sometimes that could mean that what the client wants doesn’t work and then I have to brainstorm solutions and sell the client on those. I've taken this to mean that while during the edit I can have an opinion on the quality of the edit I need to ensure that the communication between the editor and director is constructive and clear.

Overall from this research I have reaffirmed my responsibilities and requirements as a producer. I have also been able to see how I can help the rest of my group with theirs as it would be in an actual working documentary crew.

Pre-Production: Project Evaluation

For our final major project I am the Producer/Co-writer of Rewerked, in this evaluation I'll be discussing my role in; idea, the budget, locations, script, schedule, picking the target audience and channel.

Research

For my research I looked into both LGBTQ+ documentaries, normal documentaries, LGBTQ+ people in the media, LGBTQ+ history, LGBTQ+ terminology and LGBTQ+ politics. This research not only allowed me to gain general knowledge about documentaries but also meant that I learnt a lot of general back ground information about LGBT people.

I also did research into being a producer, I did this both through books and websites but also got in contact with multiple producers to ask them questions. I found this helpful as their replies were tailored to what I wanted to find out rather than being standard information in a book. This helped me understand my role and my responsibilities a lot more.

Idea

During the idea process myself and Jemma brainstormed throughout the summer and had multiple Skype calls with Gavin to get his input on these ideas. After going through many different options we settled on exploring whether you have to be a man to do drag, using contributors like Tanya aka Miss Zodi an 18 year old female Drag Queen to share the idea that anyone can do drag.

It is aimed at educating the general public about something they might not have seen before and is trying to break misconceptions and stereotypes that older generations have perpetuated. 

When the idea was confirmed I contact Tanya and spoke to her about the project which she was very interested in being apart of. From there I sent her research questions and spoke with Jemma who agreed that she would be great as our lead contributor. After Skyping her and visiting her Tanya is very invested in the project and eager to take part.

I also contact Oliver who I was already in touch with through other projects, he was very eager to take part in filming and loved the premise of the documentary.

Budget

For the budget I looked at other professional budgets and did research into how it would be best to format it and what I should consider in the budget.

From there I did a rough estimate of what everything should cost, and worked out how I could cuts costs, this was mainly in the kit department as travel is something we cannot compromise on. I then added in a contingency allowance for if any thing went over. I showed this to Helen and got her feedback, she recommend cutting accommodation costs and trying to cut the travel cost in any way.

I formatted the budget so that it had what things should cost and what they actually do, this way I can see if we are going over or under budget and can fix it accordingly. The budget is also easily understandable and available for the entire crew to view when ever they need to.

Locations

For locations, Jemma wanted a theatre and it was agreed that because Drag is something that has been happening in theatres for years we would go with that idea. I contacted multiple theatres how ever they were out of our budget. I was given the contact details for the Tom Thumb theatre in Margate. 

They were happy to let us do the filming in their theatre for the dates we needed and the aesthetic of the building worked really well for us.

After discussing with Tanya she said she was happy for us to film in her house so long as we stayed out of certain rooms like her parents bedroom.

Script

Jemma and I co-wrote the script, we sat together to work out the structure of our documentary and from there sat down together to write the script and come up with durations for each part.

Schedule

The original schedule lasted for three days of filming however when we did our pitch update, Simon said this would not be long enough for filming. I extended filming to five days this includes time for any pick ups and title work, this also means we can spend longer in Cornwall filming Tanya and her family. 

Picking the target audience/Channel

I went through the remits and target audiences for multiple channels, I came to BBC three who make short form content similar to ours, put it online, and target the age range we wanted I decided we would be aiming for a BBC 3 documentary. The 18-30's age range was chosen as this is the age demographic that are becoming more interested in shows like Ru-Pauls Drag Race that are similar in content to our doc.

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In conclusion I think this unit has gone well, as Producer I feel as though the creative vision for this documentary suitably fits with the schedule I've made and works with the budget restraints we have. Something I think I can improve on is my emails, I need to reply to emails from contributors faster than I currently do so that no one is left not knowing what's happening. However I believe I communicated well with the contributors when emailing them and with the crew about what we can and cannot do. 

What would I improve on:

• I would communicate more often face to face with crew and where possible call contributors rather then email them
• Keep better organisation with people who have an have not been contacted
• Leave more time for myself to finish tasks

What I've learnt:

• The importance of being clear and concise via email
• To over plan everything to avoid missing something
• Where to effectively use research I have done

Pre-production: Producer statement

Intro

In this statement I'll be looking at all the areas of the Pre-Production Process and how I had a creative input on each of them. This will cover; Initial ideas, Final Idea, Structure, Synopsis, Why Now?, Target Audience, Advertising, Budget, Locations, Contributors and Scripting.

Initial ideas

Our documentary went through 4 different iterations before it came to where it is now. 

America

Our first idea was to travel to America to meet Desmond is Amazing and his mother as well as 'Drag Queen Story Time', the idea was to talk to them about the importance of teaching children and allowing them to explore and understand gender and sexuality.

To ensure that we could film in America I got in contact with carnet companies early as we weren't sure how long it would take to go through.

I was also in contact with a contributor named Desmond, his mother was very eager to be involved with the filming.

After a meeting with Jemma we decided it would be financially beneficial for the doc to not go to America as we would be able to get more contributors, as well as not needing carnets for the UK.

Drag Kids UK

We then decided that our idea would work well with the same concept just in the UK. We tried to contact both Jamie Campbell and Lewis Bailey who have both been on TV about their Drag.

Not only did we not get any responses, we decided as a group that this concept was becoming more and more unoriginal as more kids were going on national TV talking about doing drag.

LGBT representation in the media

Looking into how mainstream media often misrepresents LGBT people in their stories, it would use people such as Youtuber NoahFinannce to show how people are trying to change that.

As part of this idea I got in contact with London Pride to film there as was able to get press access for us.

Due to no response myself and Jemma both decided that this was no longer a viable idea.

Drag Queens in Education

Looking art how Drag is being brought into education to teach about gender and sexuality. We'd be following companies who go into schools to teach kids about the LGBTQ+ community. I was in contact with a Nursery who were using Drag Queen story time in their eduction system.

From there we met some teenagers who are breaking into the Drag scene and experimenting with the boundaries, this then become our idea that we ran with.

Our current idea started as looking at straight male Drag Queens who are breaking the boundaries and we would use a panel of 'straight' people and Drag Queens to give their opinions. Through multiple production meetings with Jemma and Gavin we changed the structure of the narrative multiple times to make it more of an observational doc rather then 'infotainment'. We ended up with our final structure and format.

Final Idea

Our final idea is now to follow our lead contributor Tanya on her journey from Cornwall across country to take part in a drag show with two other Drag Queens. This'll be in front of an audience of people as well as an 'Expert' who will talk about her experiences with drag and what she thinks about where drag is heading.

Format

After discussing as a group we were eager to go with a Documentary for this subject as is both a format we all enjoy making as well as being the best to share the subject. This format also allows for Tanya to lead the narrative, this combats the issue of bierasure that occurs very often in the media.

It was decided that the best format for this subject was to be an observational documentary with Tanya leading it and an occasional voice over. This way it allows the audience to connect with her rather than having to hear the information through the filter of a voice over/presenter, it's more personal to this way.

Structure

After confirming what our documentary would be about and that we wanted it to be an observational documentary. From there myself and Jemma sat down to work out what we wanted the structure to be.

It follows two timelines that culminate together at the end in the form of the Drag performance. 

Tanya's timeline follows her for the three days before her performance, these cover her life with her brother and father in Cornwall, her trip to Kent and her performance. It allows us to arrive in Cornwall, meet her and her family and leave Cornwall within three days of filming.

The other has interviews from the other contributors, these get intercut where relevant into Tanya's timeline. Towards the end the audience and expert will come in to watch the show that will have Tanya's, Oliver's and Sapphire's performances in it. The audience will get interviewed after to see their thoughts and opinions on whether they think Zodi's drag is as valid as Oliver and Sapphire's.

Tanya's timeline will be linear and intercut with the interviews from the other contributors, this allows suspense for Tanya to be built.

Synopsis

'Rewerked' is a documentary that looks at stereotypes within the Drag community created through the media and general public. It focuses on 18 year old Tanya, a non-binary Drag Queen breaking all the rules in society, as she prepares for one of her first performances. It features interviews with Tanya's family and what they think about the Drag community, as well as interviews with other Drag Kings and Queens from a wide age range. It'll include personal anecdotes and misconceptions witnessed and experienced by the interviewees. The documentary will culminate with a performance from Tanya and end with interviews from everyone about their opinions of where Drag is heading and how it's changing.


It'll be intercut with interviews from our 'panel' of other Drag Queens with a range of experience between them as well as interviews with Tanya's brother and Father.

Why Now?

This kind of documentary is needed now for multiple reasons:

• There are still stories of families becoming outraged that their children are being taught by Drag Queens and exposed to people who don't follow gender conventions. MassResistance Organisation Director Arthur Schaper told Church Militant about the event, "This is adult, perverse, sexually explicit entertainment." A pamphlet produced by MassResistance argues, "Drag queen story hour teaches even the littlest children that biological sex means nothing, that sex is just 'assigned at birth,' that people can be any gender they want, and that 'it's ok to be gay.' These are all lies." - ChurchMilitant By having a doc like this it shows that young people are using their own education and choices to be any gender/what ever they want.
• Popularity in the media around Drag Queens is on the rise with shows like 'RuPauls' Drag Race coming to the UK on BBC 3, and brands like Lush are team up with Drag Queens to help promote branding.
• In politics things like the Gender Recognition act are being changed and debated.
• Stars such as Ezra Miller are coming out as non-binary or sharing their sexualities showing they don't fit into a certain box.
• It's something that a lot of people are talking about even in religion, God has no gender, Britain’s top Christian cleric said this week, joining other religious leaders who have tried in recent years to shift away from the idea of God as male - TheTimesOfIsrael

Overall the issue of gender, sexuality and the way people express it has been brought into the public eye and is a divisive topic. Our doc aims to bring two groups of people together and educate people who don't understand. 

Target Audience/Target Channel

The target audience of "Rewerked" is 18-40 year old, men and women. This demographic is chosen as:

• Our chosen platform of BBC 3 often put their videos on Youtube, 37% of 18-34 year olds binge watch on youtube -omnicoreagency. This implies that our targeted demographic is likely to see our doc.
• Other social media platforms like Facebook have 84% of their users aged between 30-49, while Instagram has 59% of their users aged between 18-29. This is where we share all behind the scenes and other images that are able to be seen by or target audience.

There's an interest from the demographic about the subject of Drag as show's like RuPaul's Drag race "with the show becoming the number one non-sports cable program among the coveted 18- to 49-year-old demographic" (Rupaul's made Drag mainstream, VICE) indicating an interest in the subject matter.

"Rewerked" will be aired on BBC 3 as it meets with multiple parts of the channels remits:

• Our content is innovative as it's a new angle on a subject that has been reused repeatedly, and features a new and up coming talent from the UK on the rise. 
• It uses multiple platforms to share content and builds an interactive relationship with its audience -BBC 3 Remit, this is done through using social media like Instagram and Facebook to promote behind the scenes as well as Youtube, and Vimeo to share the video.
• It targets an audience of 16-34 year olds which is what our target audience is.

As our doc is a stand alone product it fits in with BBC 3's desire to have singles with a distinctive voice or personal story at their heart -BBC 3 Commissioning it also satisfies the need to cover issues that dominate young minds - work, drugs and alcohol, relationships, identity - BBC 3 Commissioning. 

Our subject matter is one that BBC 3 would air as its new and an unheard voice from a genre of television that is becoming over saturated. It follows a personal story at its core and has an important message behind it, due to the vast age difference between the different contributors it has a 'character' that any member of the audience can relate to.

Advertising

For advertising I wanted to keep it as online as possible similar to BBC 3 itself being online. Because of this I wanted an active presence on both Instagram and Facebook.

Through Facebook we can share our page with other pages like ours and spread publicity through that. The page shares the behind the scenes process during pre-production and donation links for our go fund me.

For Instagram Gavin as DOP wanted to post on there which I thought would be a good idea. Our instagram through the use of hashtags is gaining a following too.

Our instagram shares photos from events like our poster photo shoot and any other behind the scenes that would be better suited on there.

Budget

At the start of the project we each contributed £500, this then amounted to £1500 at the start of the project. I calculated through the use of a spread sheet what a rough estimation of costs would be. Your film’s budget isn’t aspirational. It should encompass everything you will actually spend on the film, not what you hope to spend. With this in mind, envision each step along the way and the coinciding costs. Initially, with the goal of spending as little as possible (10 Lessons Learned While Making My First Short Film Budget). After going to the RTS futures talk they suggested using sponsorships for extra money, I emailed multiple companies and charities to see if they would be able to help unfortunately non could. 

From there I created a go fund me page as this would be a good way to add to the budget. I shared the page through our social medias and we were able to get £300/£500, this went towards food, travel, accommodation, kit as well as any other unexpected expenses. 

To ensure everything was being kept track of and spent correctly I put it all into a spread sheet:

Some of the major factors that can affect the cost are; shooting costs (kit, crew, locations, talent and any possible graphics), food, music, distribution and accommodation.

The only bit of kit that we need to pay for is a camera as all other kit is either being rented or borrowed from other sources. After discussing with Gavin the DOP what he wanted I then told him what was actually possible through our budget, he then spoke with Jemma and from there we were able to get a kit list that we weren't paying for. Do you HAVE to have original underwater footage that you capture in far-off waters, or can you get by with licensing some stunning underwater footage from a stock house? (How to create an accurate documentary budget). Our crew is all students so we don't have to pay any a wage their travel is covered, all locations are close to where the crew live except from Cornwall and only three members of crew are going there. For locations we are using Tanya's house and a theatre all of which we don't have to pay for. Contributors aren't being paid but all food and travel is being covered.

For music I got in contact with a music college and advertised our need for music, I received a lot of replies from composers and people who have already made music that they'd be happy for us to use. 

Doing it this way means we don't have to pay for the music but we also receive a lot of choices.

The Graphics would be done by students so wouldn't incur an extra expense, our poster is being made by a student too so we don't have to pay for that. After spending a bunch of money to make your film, it deserves to have strong marketing materials to go with it. A good website, postcards, a well-designed poster will cost money (not necessarily a lot) but they will help you create a cohesive visual identity for your film, making it more accessible to festival programmer and eventually an audience. (10 Lessons Learned While Making My First Short Film Budget) in terms of distribution it would be shared through Facebook and Instagrams. Our documentary has a website that also promotes it.

Locations

For locations Jemma wanted a theatre as the in the theatre world Drag isn't seen as an unusual thing. With this in mind I began looking at different theatres in the area and whether they aesthetically work with Jemma's idea. I decided and Jemma agreed that older looking theatres would be better then some of the newer designs.

Multiple theatres either didn't reply or were too expensive, Simon suggested emailing the Tom Thumb Theatre about whether we would be able to film there.

From there I was able to plan a recce date to go visit the theatre to see if it worked for our doc. In the RTS futures talk and speaking to some of the professionals there they suggested not paying for a location so, we offered the owners of the theatre a promotional video in exchange for using the theatre.
This theatre is where the performance from Tanya, Sapphire and Oliver will occur in front of the audience. 
For our GVS we looked around Margate and took a look around Cornwall via google maps to plan out possible GVS.

Cornwall

*Images from google maps*

Margate

*Images from google maps*

The other location we would be using would be Tanya's house, she sent images of her house so that we could partially recce it.

Schedules

The schedule required me to find out when Tanya's half term was, from there I could find potential people to work on the doc with us and other contributors could work around that date too. I discussed with Jemma what she would want to film each day if she could choose, from there I made up the dates and length of filming as well as making filming targets for us.

I have 2 different schedule, one being a monthly one the other is a filming schedules.

"Add 10% That applies to the number of days on the schedule and to the length of each individual day, because there’ll always be something that crops up: setting up or breaking down the set taking longer than expected, a sudden rain cloud halting production for half an hour, an actor wanting to experiment, or simply forgetting to budget time for lunch and breaks" - (New York Film Academy)

Month Schedule

to ensure that crew are keeping to deadlines and I wouldn't double plan anything I created a monthly schedule that the entire crew could access.

Schedule

Our schedule factors in filming, food times as well as travel times. 

Filming targets are in this version of the script and were done with collaboration with the Director to make sure that everything is possible and logistical. 

Risk Assessments

For our risk assessments I looked at the photos of Tanya's house, and during the recce for the Tom Thumb theatre. I created a table that has all of the risks and possible harms for the locations we are filming in.

From there I was able to create the risk assessments for filming.

Contributors

Our contributors are;

• Tanya aka Miss Zodi who will be our lead contributor, the documentary follows her journey to performing in a drag show
• Amy Redmond is our drag expert who is heavily involved in the drag scene
• Oliver Lewis was our 1st confirmed contributor after Tanya, he's been doing drag for many years and will be performing with Tanya and Sapphire. Despite being the same age as Tanya Oliver has had years of experience so will provide good interview responses
• Sapphire Stone is another Drag Queen who will be performing with Tanya at the show. Sapphire had already worked with us on Steal the Style so we knew they worked well
• Tanya's brother and father will also be used in interviews, this will allow the audience to relate to Tanya as a 'character' 
• The audience that will watch the performance will be interviewed too after they see the show for their thoughts and opinions

Over all these contributors provide a new view on drag as well as being young and relatable for an audience. I've been involved in the 'casting' process with Jemma by Skyping interviewees and keeping in regular contact with everyone.

Contracts

I did research into how to create effective contracts this way I could send them to contributors and they'd be easily understood.

Scripting

Scripting for the doc is being done by myself and Jemma, when asked one of the producer's I researched said that scripts are Not really applicable. In documentaries, we don't have scripts. When we do documentary drama, we stick quite religiously to the scripts as the dialogue has already been pre-recorded. Instead we made an AV script and as we are doing an observational documentary instead of noting everything that everyone says it has the narrative journey that needs to happen. From there we have a list of questions that will be asked and this allows for any tangents in conversations to happen. When filming has happened it will be transcribed to aide editing and means the footage will be used in the best possible way.

Pre-production: Scripts

During the scripting process myself and Jemma created an AV script, this is the usual scripting method for a documentary.

New York film academy recommends planning out the content of the documentary before doing the scripting process. This is the time to organise and plan how the story will be transmitted to your audience. The outlined story is detailed in regards to how the film will play out. When you have this outline clear in your head, shooting the frame is much easier because you already know what you want.-NYA We did this by using a white board and sitting together to decide the structure of the documentary and how everything would flow together.

Through experimenting and working out what our budget would get us we decided on a final structure.

This then slightly changed to a drag show with two other drag queens and Tanya to an audience of people.

From there I emailed the contributors questions so that we knew as much about the as possible and how we were going to script it. You must work backwards. It is the only way to write a documentary script. Once you have collected your research, data, and interviews, only then can you write the script. It would be impossible to conceive what an interviewee is going to say and how that ties into your message. Once you have all of the facts and materials, then you can sit down and write the script and voice-overs. -NYA 

First draft October 25th

Jemma wrote out the script in the with extra columns so that when I read over it I understood what she meant by it all. From there I made my feedback/changes to it.

From here we needed to put the script in narrative order rather then filming order, and format it as a proper AV script.

Draft 2 December 2nd

This time the script was formatted in an AV format and elements such as Tanya being bullied were taken out as it would be better to focus on Drag and let the conversation go that way if it happened on its own. Visuals were made clearer for the DOP to be able to work from.

More questions were added to keep the doc on track for the subject matter.

Me and Jemma took this version to Helena and from there received this feedback:

• Focus on shot types and visual descriptions more
• Pre-title is too long
• Strong statements shouldn't be in the first voice over
• We need to ease in the viewer more to the subject/characters
• Set up Tanya as a everyday person
• Show more tell less
• Drip feed information
• Let Tanya tell information about herself to us rather then us tell the audience
• Look at universal relatable themes like her being a teenager, living with family and being a student for the audience to relate to her
• Don't write in interview questions write in topic subjects
• Be less formal more youthful and conversational
• Have more actuality
• Be more observational 
• Be upfront about the fact it's constructed

From there we went into draft three.

Draft three

Me and Jemma sat down again and discussed what our structure was and what we wanted to show from it, visuals were focused on first and how we'd get our message across through that, then scripting was added. Jemma mapped out everything through post it notes.

From this we made sure that each part of the documentary flowed well together to avoid it being blocky. We used information we learnt through questions we sent earlier in the project and made our contributors more relatable. Viewers want to connect with your project. Find compelling personal stories that will enthral viewers. Emotionally, your viewers will open up and understand the complexity of the issue while making the issue entirely relatable. Every viewer wants to be transported somewhere else, learn something new, and then be motivated and moved by this information. -NYA From there we went into re-scripting with this new structure of having two other drag queens perform with Tanya.

Draft 3 December 7th

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Over all from this I have learnt:

• Constructed events are ok however you need to own the fact that it is constructed

• Use research to aid the writing that's why you've done it

• Focus on what is seen rather than heard, through this drip feed the audience information so that they aren't over whelmed

I'll use this information if our rescript gets re-drafted Be thorough with your writing and voice-overs. Writing and rewriting parts of the script is part of the process as you continue to define your message and refine the story. -NYA. Even after filming the conversations might not follow the script if the contributors go on a tangent that works better.