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.