Documentaries: Treatment

Treatment

By Zak and Danny

Main characters / interviewees

Skye (They/Them) - transgender/non-binary/Agender 19 years old came out at 14 “The curriculum surrounding sex education did not provide me, or other LGBT folk, with any knowledge or resources. This resulted in me identifying (unhappily) as male for THREE YEARS after i discovered transgender people.” This excellently kicks off the discussion that sex-ed is failing to represent an audience that may need it desperately, often negatively affecting mental health and supporting the agenda of ignorant schoolyard bullies. Contrast with Molly

Elisha (19) - Questioning

Molly (13) - secondary school cishet student (daughter of Debbie and Darrell) This interview backs up the points made by Skye but from a different perspective, giving a different view on the topic but maintaining that this is a real and very serious subject.

Debbie (49) Darrell (49) - Parent of 4 We also meet Molly’s parents, Debbie and Darrell who tell us whether they would feel confident and comfortable answering their daughter’s questions about sex, sexuality and gender or whether they think it’s very much an educator’s job. Chloe -- Asexual 19 years old

Stuart Jeffery - Green Party Rep

Hilary Cooke - MGSD Centre Rep following Medway Gender and Sexual Diversity Centre sex-educators into schools to see where effective and honest information is available for young people.

Anjali - Indian student studying in Rochester (Danny and Jack’s flatmate)

Holly - bi 18 year old

QUOTES (ONLY):

Libby (They/Them) --- transgender/non-binary 14 years old

Locations

London

Miadstone tv studios

University for the creative arts

Brighton secondary school

Brighton highstreets

Farnborough

Aldershot

Whether using a presenter / reporter

We are not using a presenter but we are having a voice over narrator to help the narrative of the documentary move forward smoothly. We are having a mix of voice over between interviewees also to introduce the documentary and finish it but most importantly take you through the story being shown. We are not having a interviewer because we thought it might be a bit distracting for the documentary. There will also be voiceover for a part where we will talk for people who didn't want to be filmed or known on camera.

Transmission time / channel / platform

Past watershed somewhere between 8 - 10 pm due to the topic of sex being the underlying subject that is unsuitable to be shown to an audience of under 18 as laws and regulations set by Ofcom.

We will be airing this program on BBC three which is now an online platform.

Target audience

As we are airing this on BBC three we want to meet their target audience which are:

Gender - (mainly) Male

Age - 40 - 45 year olds

Social grade - ABC1

Top regions - west country ( yorkshire, east anglia)   

Have an interest in finance, science, music and entertainment.

Hobbies - photography and being online

Personality - knowledgeable, funny, analytical, self-conscious, disorganised, stubborn.   

Politics - left

Monthly spare -  £125

Online for 26 - 30 hours online p/w

Watches tv for 21 -25 hours watching tv p/w

‘The Birds, the Bees and the Rainbows’ is part of a series of short documentaries looking at ‘Teen Spirit’, commissioned for BBC Three’s online channel. The show is a detailed examination of the representation of gender and sexual identity within modern sex-ed. Modern schools aren’t teaching what they legally should, minimising LGBTQ+ representation to give heteronormative lessons that can have a damaging affect on many young queer people. With a specific focus on the demographic of young, LGBTQ+ people, ‘Birds, Bees & Rainbows’ combines interviews with a variety of people from all backgrounds and beliefs to reflect BBC Three’s usual 16-34 demographic.

Interviews are being conducted with individuals of varying ages, sexualities, genders, backgrounds and beliefs in order to give an unbiased view, get a fuller understanding of our topic and most importantly show that this isn’t an isolated experience.
But as a group we are also targeting teens between 13 - 17 year olds and parents with teens in secondary school as we are looking at the effectiveness of sex education in schools and whether they do or should incorporate different sexualities and gender. We are also targeting all genders and sexualities and though who do not yet know as an attempt to educate and hopefully help people.
This will be a stand alone film but it will have the potential to carry on to be a series if need be.  

The documentary will focus heavily on interviews which can become a little boring and disengaging for viewers. To combat this in an effective and informative way, we’re heading to Brighton to visit a school that is highly reputable for its approach to sex education. Their own sex ed guidelines build on the government curriculum, adding in multiple own guidelines such as: “personal responsibility in all forms of behaviour, including respect and consideration for others regardless of gender, race, religion, disability and sexual orientation;  Opportunities to understand and accept difference and diversity.”

Documentaries: Contacts

Contact list

Green - Filmed

Red - Dropped out / Unavailable

People:

Elisha(19, Aldershot) Pansexual

Elisha (Elie) is a long time friend of mine from school who came out during school to us all.

Debbie(49, London) Mother

Crews family

Darrell(49, London) Father

Crews family

Molly(13, London)  secondary school cishet student

Crews family

Tommy(16, London) Bisexual College student

Crews family

Holly(18, London) Bisexual

Tommy's friend

Jenny(London)

Holly's mum

Chloe(19, London) Asexual

I came into contact with Chloe through a mutual friend unfortunately due to scheduling issues we weren't able to film her.

Skye Transgender/non-binary/Agender 19 years old came out at 14

Skye is an old friend from my secondary school who came out as trans in around year 9 and now identify as non-binary. Due to their working schedule we were not able to film Skye.

Jo(Mother of secondary children)

Jo is a friend of my family with three children in school 2 of which in secondary school, unfortunately due to her living so far away it wasn't practical for us to travel over there.

Zoe(Secondary school teacher)

Zoe is an old teacher of mine and a family friend, she did not want to be filmed and we were not able to get a quote from her.

Libby(14, East Sussex)Trans

After I contacted a trans support group on Facebook their lead admin put me in touch with Libby and Mao. As Libby is 14 and not yet out to their family we decided it be best to not use them on camera

Mao(Normandy)Trans

Mao got in contact with me after I reached out to the trans support group, unfortunately after we found found out Mao was from France we simply weren't able to go over to get footage instead we gathered a quote.

David(Bristol)Gay

David is someone who knows my family, unfortunately because he is deaf we didn't leave enough time to get things such a interpreters so that we could communicate with David easily.

Beth(Farnham)Bi

Beth was someone I found through UCA Farnham, timings meant we weren't able to got back to the Farnham area to film with her.

Olivia(Michigan)Pan

I found Olivia through a Bisexual and Pansexual support group as she is in Michigan we weren't able to film with her but we did receive a quote.

Organisations:

Blatchington Mill (Progressive Brighton school)

Thomas Aveling School

GIDS (Gender identity development service)

GIRES (The Gender Identity Research and Education Society)

Stuart Jeffery - Green Party Rep

Hilary Cooke - MGSDC

Documentaries: Research "gires"

"gires" Gender Identity Research and education society

GIRES is a charity that collaborates with other groups to "hear, help, empower and give a voice to trans and gender non-conforming individuals, including those who are non-binary and non-gender, as well as their families".

They contribute to policy development regarding equality and human rights for people in the LGBTQ+ community **especially within health care** GIRES provide training, e-learning and information to public and private sector organisations.

AIM: "to improve substantially the environment in which gender non-conforming people live. GIRES upholds the right of all those who do not fit the typical boy/girl, man/woman tick boxes, including people who intend to change gender role completely and others whose gender identity is non-binary, to live proudly in a society that celebrates diversity."

GIRES contributes to de-psychopathologising ((Psychopathologie=the study of mental diseases and their causes)) gender non-conformity and has:

"(a) ensured that the UK’s Good Practice Guidelines for the assessment and treatment of adults with gender dysphoria adopt the World Professional Association for Transgender Health (WPATH) description of this condition as “not negative or pathological” and

(b) supported the World Health Organisation’s move to take account of current scientific research and transfer the condition out of the mental and behavioural disorders section of the International Classification of Diseases."
Individual Help:

"In the UK, around 650,000 people, 1% of the population, are estimated to experience some degree of gender non-conformity. GIRES and the other support groups receive a stream of requests for help from individuals with a wide range of needs, for instance: 

a child not being allowed to use the appropriate toilet in school

a wife who has just learned that her spouse intends to change gender role

an employee intending to undergo transition at work

a patient being denied proper gender reassignment treatment."

Empowering Gender Nonconforming Young People:

In collaboration with Mermaids ((a group who raise awareness about gender issues to the general public, the campaign for the recognition of gender dysphoria **a condition where a person experiences discomfort or distress because there's a mismatch between their biological sex and gender identity**))GIRES has been campaigning since 2000 for the NHS to make puberty suspending medication available to gender non-conforming young people in accordance with the international guidelines. The NHS adopted this approach partially in 2011 and then fully in 2014. 

**Hormone therapy on the NHS**

If a child has reached puberty and has gender dysphoria, they can be treated with "gonadotrophin-releasing hormone analogues". These are man-made hormones that suppress the hormones naturally produced by the body. Gonadotrophin-releasing hormones suppress the hormones produced by your body. They also suppress puberty and can help delay potentially distressing physical changes caused when someone who has gender dysphoria body becoming more like their biological sex rather then their sexual identity, until they're old enough for other treatment options.

Support for Educators:

Information, advice and training are provided not only by GIRES but also by other supporting charities. The GIRES toolkit, funded by the Home Office, has been a valuable resource for schools to use in combating transphobic bullying. 

"However, the Department for Education (DfE) has made little effort to alert schools to the increasing likelihood that they will need to support a gender nonconforming person and inform them about the wide range of resources available."

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GIRES website: LINK

Hormone thereapy: LINK

Gender Dysphoria definition: LINK

Mermaids website: LINK

Documentaires: Research ((How is Sex Education taught in schools already?))

How is Sex Education taught in schools already?

**Sex and Relationship education guidance DOC**

This GOV document outlines that children (including those who develop earlier then average) need to be taught about puberty before any physical changes start. 

What is sex and relationship education?

"Lifelong learning about physical, moral and emotional development, as well as teaching about the importance of marriage for family life, stable and loving relationships, respect, love and care, it teaches about sex, sexuality and sexual health."

It involves teaching about reproduction, sexuality and sexual health, it doesn't promote early sexual activity or any particular sexual orientation.

Primary schools

Early primary years education in relationships focuses on friendship, bullying and self-esteem building. The transition year of moving from primary school to secondary continues to support children's ongoing emotional and physical development, as well as talking to parents about the school’s overall policy for sex education. Primary schools are expected to keep in contact with parents before the transition to secondary school about what will be taught.

Schools should have clear parameters on what children will be taught in the transition year before moving to secondary school. 

This should include: 

● changes in the body related to puberty, such as periods and voice breaking 

● when these changes are likely to happen and what issues may cause young people anxiety and how they can deal with these

● how a baby is conceived and born

Secondary schools

Secondary schools should set sex education within a broader base of self-esteem and teaching students responsibility for their actions.

Secondary schools should: 

● teach about relationships, love and care and the responsibilities of parenthood as well as sex

● focus on boys as much as girls 

● build self-esteem

● teach the taking on of responsibility and the consequences of one’s actions in relation to sexual activity and parenthood

● provide young people with information about different types of contraception, safe sex and how they can access local sources of further advice and treatment

● use young people as peer educators, e.g. teenage mothers and fathers

● give young people a clear understanding of the arguments for delaying sexual activity and resisting pressure

● link sex and relationship education with issues of peer pressure and other risk taking behaviour, such as drugs, smoking and alcohol

● ensure young people understand how the law applies to sexual relationships. 

Pupils should learn about human sexuality, learn the reasons for delaying any sexual activity and learn where they can get appropriate advice on sexual health.

As part of sex education students should be taught about the importance of marriage for family life and bringing up children.

It should also help them to be aware of their sexuality  and help them understand sexuality.

Sexual identity and sexual orientation

It is up to schools to make sure that the needs of all pupils are met in their sex education programmes. Young people, whatever their developing sexuality, need to feel that sex and relationship education is relevant to them. There should be no direct promotion of sexual orientation. Sexual orientation and what is taught in schools is an area of concern for some parents. Schools need to be able to deal with homophobic bullying. 

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Website/PDF online: Sex and relationship education guide- **JULY 2000** www.gov.uk/government/uploads/system/uploads/attachment_data/file/283599/sex_and_relationship_education_guidance.pdf

Documentaries: Actuality workshop---Making Ropes

Documentary: Actuality Workshop

Edited by Jack Nix

Filmed by Zak Wilkins

Sound by Danny Lewis and Victoria Simmonds

We were tasked with filming actuality shots for the rope making process across three different locations.

This was a really informative learning experience for me in that we learnt; how to cope with sound (radios and people talking as well as machinery), to have confidence when asking people if we can film them doing things and how to film around things such as teaching groups and the general public.

Feedback:

• Hold a shot for a least 10 seconds
• Don't impose camera movement on a static object
• A maximum turn for a pan is a 45 degree angle otherwise it's way too long
• Use a tripod
• Hold the shot when the subject leaves the frame
• When sequencing; tight shot on hand, tight shot on face, general overall shot

Documentaries: Research

Research into sexualities and genders included in our documentary

NON-BINARY

"A non-binary person is someone who identifies as something other than entirely a man or entirely a woman. This may mean that they feel more like a combination of both ('androgyne'); or that they feel like a man on some days, a woman on others, and/or a combination of the two at other times ('genderfluid'); or that they simply have no gender at all ('agender'). 
You may also have heard the word 'genderqueer', another, less formal term that some people prefer to 'non-binary'. These are only a few of the words that non-binary people use to describe themselves- gender can be seen as a broad spectrum, and there are as many words to describe specific identities as there are places on that spectrum."

Is being non-binary the same as being transgender?

"Well, yes and no. Some non-binary people consider themselves transgender (or ‘trans’), and others do not.  As with binary transgender people, many non-binary people experience gender dysphoria. They may take steps similar to those taken by binary transgender folks in order to feel more comfortable, including:

• Changing their name to something more gender-neutral, or using different names depending on the gender they currently identify more with
• Asking those around them to use gender-neutral pronouns (for example, instead of 'he/him/his' or 'she/her/hers', they might prefer 'they/them/theirs' or 'ze/hir/hirs')

• Using a gender-neutral title such as 'Mx' (pronounced 'mix' or 'mux') instead of 'Mr', 'Mrs', or 'Miss'
• Adopting a more gender-neutral presentation (their clothes, hair, etc.)
• Seeking hormone therapy, typically using lower doses than binary transgender people
• Undergoing voice training
• Seeking surgery to change certain parts of their body (e.g. having their breasts removed, having their genitals surgically altered)"

TRANSGENDER

Trans or transgender is someone whose gender differs from the one they biologically have, they may identify as male, female or neither.

People in the trans community may describe themselves using one (or more) of a wide variety of terms, including (but not limited to) transgender, transsexual, and genderqueer. 

Many transgender people are prescribed hormones by their doctors to change their bodies. Some undergo surgeries as well, however not all transgender people can or will, and it's important to know that being transgender is not dependent upon medical procedures.

AGENDNER

An umbrella term that includes many different genders of people who commonly don't have a gender and/or have a gender that they describe as neutral. 

PANSEXUAL

Someone who is pansexual is capable of being attracted to any gender, "pansexual is being used more and more frequently as more people acknowledge that gender is not binary". They may feel a stronger attraction to either men or women but this doesn't invalidate their other feelings.

BISEXUALITY

Bisexuality is an umbrella term for people who experience sexual or emotional attraction to more then one gender, they can however someone who is bisexual may feel a stronger attraction towards men or women. 

HETEROSEXUAL 

Being attracted to someone of the opposite sex.


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Non-Binary:
Website- Sexpression:UK- LINK
Transgender:
Website- Belongto- LINK
Website- glaad- LINK
Agender:
Website- Trans Student educational resources- LINK
Pansexual:
Website- Trans Student Educational resources- LINK
Bisexual:
Website- Healthyplace- LINK
Website- Trans Student Educational Resources- LINK
Heterosexual:

Documentaries: ((Idea development))

Idea development

Sites used:

"This is what it feels like to be a teen Muslim growing up in America"

"Teenage mental health crisis rates of depression have soared in past 25 years"

"Social media is harming the mental health of teenagers. the state has to act"

My groups initial ideas for a documentary were; LGBTQ+, Trans gender teenagers, How divorce can affect teens, Porn culture, How teens identify with music, Expression and culture within music, Invisible illness, Self harm, Mental health, Suicide, Technology and the link to mental health, How growing up Islam has changed, Hyper-masculinity in young boys and Over sexualisation of young girls.

We met as a group and narrowed all our ideas down to two, 'How is sex education taught in regards to the LGBTQ+ community' and 'How growing up in the Islamic community has changed since the election of Trump'

We decided as a group to go with the sex ed idea and proceeded with research.

Initial research

Sites used:

"Parents furious over school's plans to teach gender spectrum, fluidity"

"Children as young as seven are being taught about 'transgender experiences' as part of primary school education program"

"Section 28...Gone but not forgotten"

"Sex education to be compulsory in England's schools"

"UK to teach sex and relationship education to children as young as four"

"How much do you know about sex education in UK schools"

"Sex education should not be taught in schools, say more then half of parents"

"Schools to teach 21st century relationships and sex education"

Documentaries: Scripting and storytelling for documentary filmaking

Scripting and storytelling for documentary filmmaking

S  ound

W  hite/balance

E  xposure

F  ocus

F  raming

SOUND: Look for levels and listen to quality---point clip mic down to avoid popping P's

Captions go on MCUs---caotions=helvetica

Look out for things in the background

When zooming in on shot in editing only go in 20%

Less is more

All programming is to a lesser or greater extent scripted

Factual programmes frace pratic ethical challenges when it comes to how far they should be scripted

Title

The title: sells your films to its audien

Encapsulates what it's about

Focuses on you as a prodcuer/director on the reals meaning of your film

Adds meaning to your film-double entendre

Can also include:

Transmission time and channel/platform

Target audience

Doc scripting can include any of the following:

Seq

Interviews

Reconstructions and dramatisations

Actuality

Cutaways/GVs

Sync

Commentary

Music

Archive/stills

Graphics

Scripts written prior to filming

This form the template for your finished film

Informed by research

Pictures on left snf sound on right ((possibly duration on far right to work out importnace))

Starting

Always start buy writing your commentary and interweave with a summary of each person's sync eg Fred descirbes his life in London (RESEARCH informs your comm).

Explore picture opportunies through your script

Always write to pictures- they shuld work together

HOWEVER BEWARE-LORD PRIVY SEAL RULE ((DON'T HAVE TO HAVE A PICTURE FOR EVERYTHING))

Scripting conventions

Write COMM or V/O for commentary

SEQ sequence

ACT actuality

C/A cut aways

SYNC Interview clips

SFC sound effects

Commentary-is usually made distinct by being written in italics/bold alos helps during voice over record if they are umbered, filmed at the VERY END OF FILMING ((becayse commentary can be re-writen

Line and a half spcaing makes it easier to read

Find some sort of narrative to hold the film together-norm dictated by actuality

Comentary:

Helps guide the audience through the story

Fill gaps that filming can't always fill

Intro characters

Corner turn

Tension adding

Expertise

A central thread of some kind which will hold your story together

The central thread could involve the process of nvestigating that answear to a que or theory

Film;s nar is influemced by characters, loca, period of time it is covering and the evemts presented

BEWARE-time based nar cannot be fractures-ensure you check the logic of your story and keep to it

LIGHT AND SHADE AND TENSION

Consider how you will interject light and shade

Narrative styles

No. of diff narrative styles which can be used in documentaries

Filmmaker mighr become a protag or antag

The method of story telling is determined by what is appropriate for the content. The programme/series/channel identity.

Scripts and shot lists

Your script can then inform the shot lid of seq, interviews, actuality and GV's etc you use for each day's filmmaking

DOCUMENTARY ((Workshop: interview and sound))

Who do we interview?

• Experts-E.g scientists, doctors, lawyers – use their professional expertise and opinion
• ‘Ordinary people’ –Interested parties – relevant to subject 
• Officials -Appointed representatives

What do we ask them?

Questions which : 

• Allow us to explore the subject we are tackling. 
• Enable the viewer to get to know the interviewee and engage with them 
• Sometimes which create tension/drama 

What makes a good interviewee?

You tend to consider the following criteria: 

• Their relevance to the subject 
• Charisma/’character’ 
• Good talker/engaging 
• Prestige/importance 
• ‘Headline’ appeal 
• Exclusivity 
• Whistleblower 
• Expertise 

Prepping for the interview

Prepare your questions - logically structured - PRIOR to your shoot. 

KNOW YOUR SUBJECT INSIDE OUT  

Work out how/where you are going to shoot the interview beforehand: 

• Its location (where the person will be standing/sitting etc)
• Props (you can dress the interview setting) 
• Camera position/FRAMING, LIGHTING and SOUND ((You can work this out during your research meeting/s.)) 
• Some interviewees insist on seeing questions prior to interview - agree to provide question areas - spontaneity! 

EVERY INTERVIEW NEEDS A SET UP SEQUENCE this should be worked out in your shooting script ((This is a sequence of shots introducing the interviewee visually which can sustain the time needed introducing your character in voiceover/ interview clip))

 

Scripting interview questions

Phrase open questions rather than closed ones which would illicit ‘yes/no’ answers. Do not structure rigid questions for yourself – allow room for a conversation to develop naturally ¨ Your first question is often the simplest and least likely to cause difficulty or offence.

Actuality or sit down interviews

ACTUALITY INTERVIEWS:

• Conducted in situ 
• Allows you to keep the action going (and thus maintain interest) 
• Questions react to events 
• Helps understand subject – relevant 
• Time specific 

SIT DOWN INTERVIEWS: 

• Good for covering lengthy and tricky/emotive interview subjects 
• Controlled environment (clean sound)
• Timeless
• Safe bet

Shoot day ((The Interviewer))

Just prior to beginning the interview ask the interviewee to spell out their name for the tape and their job description ((useful information for your edit))

Whilst crew setting up, spend time with your interviewee ((keeping them calm and happy, rapport important))

Listen carefully to the answers, they could change the whole course of the interview.

Ask your questions clearly and allow time between the answer and your next question (a couple of seconds at least) so that there is space to edit the interview ((do not cross over between questions and answers)) Do not speak when the interviewee is speaking (show your understanding by maintaining eye contact and nodding etc as appropriate)

Shooting day ((The Producer/Director)) 

Brief your camera op regarding your vision for the interview – communicate quietly during the shoot.

All crew/cast to turn off/control all external sources of sound where possible. Good clean sound is needed from sit downs. Watch the shots as they’re recorded on a monitor. Motion to the camera op when you want the camera to move to BCU/ECU (discuss in advance). 

Monitor answers to select potential reverse questions (if interviewer is visible in the film). Keep your eye on your crew throughout the interview – be prepared to cut at an appropriate moment if either indicate a technical problem. 

Listen for answers which indicate shots and sequences need to shoot. Listen for problems with the answers e.g. Not self contained or litigious etc or if cross over with questions. Re-take if needed. Place interviewees in an interesting/relevant setting.

Shoot day ((The Sound Op)) 

Regardless of whether the interview questions are going to be in the final piece, try to get a clean recording of them as well – ensure that one of the sound tracks is picking them up. Do sound checks prior to beginning the interview. 

Shoot day ((Camera Op))

Vary the shot sizes – Do not stay on one shot size throughout the interview as this is impossible to edit

Use any breaks or re-takes in the interview as an opportunity to change shot size – this will allow you to edit the piece without resorting to needless cutaways which can be distracting 

Make the shots aesthetically pleasing 

When the interviewee is making a really good point slow zoom into a BCU/ECU.

Picture essentials 

CUTAWAYS 

In order to edit interviews to the required duration and content you need to “cover” the edits as, every time you cut, the edit will become obvious to the viewer as it will ‘jump’. This can be done with simple cutaways and GV’s such as close up of hands or nearby objects. However, sequences and actuality are more interesting and keep the piece moving.

NODDIES 

These are responses by your interviewer to questions. VARY THE EXPRESSION e.g. Smiling, concern, listening, nodding etc ¨ 

REVERSE QUESTIONS (aka “Reverses”) 

Get the interviewer to ask a selection of important questions again after interview finished. 

Cutaways and reverse questions/noddies can be shot AFTER the interview has finished. 

Non-sync wides 

Usually slightly de-focussed, usable anywhere.  

Interviews with more then one person

Tricky to shoot and edit, essential to get good coverage. 

Plan where each person sat to maximise picture and sound control. Even trickier when in an actuality situation. 

Picture essentials: 

• REACTION SHOTS – slow pan to focus on the person listening rather than the one speaking – thus you can edit the person talking or leave the move in the final edit. 
• If your interviewer is in the film itself, get the occasional 2-s with your interviewee/interviewer – often the opening shot and a couple of key questions – but keep it simple is the rule until you are confident. 
• Cutaways & non-sync wides
• Sound considerations – Usually not more than two radio mics – so boom coverage essential 

REMEMBER THE 180 DEGREE RULE!

Framing interviews

• Allow looking room

• Eye lines- When framing interviews, try to vary the L – R eye lines, so that not everyone looks in the same direction. This will allow you to cut between contributors without it looking too similar or having jump cuts. Convention has established a sort of rule that opposing views are always shot with opposing eye lines. Frequently eye lines are an issue in continuity editing. ((cutaways help if things go wrong and cut to ws/non sync wide)) 

Transcripts

Once you have finished filming you need to transcribe your interviews. These allow you to create a paper edit utilising your shooting script to create an edit script. You can then read the written interviews and highlight the quotes you want this is much much easier than doing so by watching and listening.