Producer research (2)

Helen Curston

Has experience as a Producer, Director, Assistant Producer and Series Director. She's worked for the BBC in documentaries and current affairs for the BBC. 
After helping Helen with research for the 'Untold Stories' documentary (Link to article about the exhibition)for Black History month, I decided to send some research questions that would help me understand my role more.

How do you involve yourself creatively in an idea in all stages of the production?

I work as a Producer/Director generally, so I tend to be the driving force behind all editorial decisions (ie content/storytelling), as well as directing and scripting both the shooting and the edit script.  It’s quite normal in factual for this to be the case – often production teams are small, so they come down to one or two core people (Researcher/Producer-director) who then hire in presenter (if needed), a camera op (lighting cameraman/DOP) and sound and then picture editor.  Thus all others on the team are working only after all R&D *research and development* has been completed and agreed, by myself and whoever I am working for (client/Programme Editor etc) – in this sense they are working under my creative vision.

This said, the presenter/camera/sound/picture editor are ALL creatives also, so the presenter for example might get involved in scripting their PTC’s or how they deliver something; the camera and sound are given autonomy to control their own material, but I would always agree WHAT and HOW this would be done with them; the picture editor would work to my edit script, but again would offer guidance and ideas during the edit, which we would discuss and agree.

How soon after filming did you schedule reshoots if needed?

I tend not to re-shoot – it is costly and usually unworkable with schedules too.  I make what I have work and am more likely to ADD more shoots, rather than RE-SHOOT.  If I did have to re-shoot it would be ASAP, but in my memory I have only ever re-shot anything once, and that was after I was self-shooting for the first time!  Any work shot with a camera/sound crew would be costly and they know that they are expected to deliver first time – hence why they always ask and agree with me what I want and highlight any problems/concerns at the time/before the shoot!

How did you find funding for the filming?

My films have all been funded through the company I work for – in the past this was the BBC, we did not need to seek external funding – on one production it was a BBC/Open University co-production; more recently I have worked on projects in which the University became a partner of EU (European Union) and HLF(Heritage Lottery)funded projects.

How did you stay within budget/compromise if things were too expensive?

Again this is never an option – you simply work if possible well UNDER the budget and always keep a contingency!  If you can’t afford something you find a way of doing it cheaper/for free or you simply do not do it!

Do you have any advice with gaining funding for our project?

It takes a LOT  of time to get ANY funding – whether it is a specific film fund, broadcaster commission, branded piece or something funded by a charity – it is NEVER quick!  So allow PLENTY of time.  Find someone/something relevant who will have an interest in what you are doing but bear in mind in doing so they will undoubtedly have a vested interest, so it will often mean compromise.

What inspires you to take part in a documentary?

I never ‘take part’ as such, but in terms of why I make docs, it is because I love to open up the world and share what I find with others – real life is often more surprising than fiction, and offers such a rich opportunity to give a platform to people and things which we might not know about.. I like to ‘educate, inform and entertain’ in that classic PUBLIC SERVICE mindset – it’s inspiring to see when a story throws the spotlight on something and even, on some rare occasions, is part of changing the status quo.

How much do you stick to a script?

Very tightly – I like to work all the problems and solutions/ideas out on paper – but of course things happen during the shoot and edit which we can adapt to and include, so  I never rule out ideas and opportunities.

How do you find contributors and then keep them on board with the project for a long period of time?

Lots and lots of research!!! Online, in person, in books and directories, through contacts – keeping people on board is difficult, especially if you might not have funding /a screening platform in place.. Keep in touch regularly and have meetings in person to ensure the people get to know you enough to feel safe and allow them to keep in contact if they have any concerns.

Do you have any advice on building trust with contributors?

Honesty and openness, humanity and respect – understand that they are giving you their trust, time and often opening up about very sensitive personal things.  Also allow them SPACE – don’t over-pressure and give them time (so therefore allow PLENTY of time for this and have plan B, C and even D!!)

How easy was it to gain access to locations, people etc.?

Generally people are happy to help – but again allow time because finding someone who will give you access needs time.. Always recce locations and notify appropriate individuals/seek permission.  If you have no budget this need not be a problem – finding something which can be mutually beneficial is a way of convincing people.

How detailed was the original script compared to the filming one?

Very detailed – I write all shot ideas, music/VO and draft out what each answer is likely to cove r from each person and structure those elements so that I have a clear framework.  It forms the TEMPLATE for my edit script, into which I will add all sync clip timecodes etc so it is REALLY important!

--------------------------------------------------------------------------

From these questions I have learnt:

• All the different ways I can find contributors for interviews and the importance of having regular contact with them
• The benefit of having a highly detailed script 
• It's given me ideas/resources to find funding to help with our budget
• How it can help the budget in terms of reshoots if everyone in charge of the camera and sound knows what is expected of them fully preventing any need for a re-shoot
• The importance of acknowledging that everyone involved in the filming is a creative in their own respect so might have an input in what happens/what is included

I'll use this in my pre-production by; doing more research into potential companies/organisations/charities/groups who could give us funding, I need to look for people who have a connection to the subject matter being covered so they have an interest in supporting us.

Work with Jemma as co-writer for the script to give as much detail as we possibly can making us more pre-pared for the shoot.

Have regular conversations with Tanya (our main contributor) over skype (as she lives too far away to visit) and make sure she is fully updated with everything that is occurring and any questions/worries she has are answered, as she is 17 I will also be in regular contact with her father to ensure he is comfortable with everything too.