Producing with Passion. Dorothy Fadiman

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СКАЧАТЬ Instead, it means beginning early on to put together a supportive team; doing some homework first; finding and framing the idea; doing background research; and once you start shooting, opening yourself to the direction suggested by what you see and hear. In this way, you allow what you gather to inform you about where to go instead of following a predetermined script.

      Working in this way, I find that the script begins to develop as I work. Each interviewee adds direction while the new footage and other images suggest more to the story. I bring these pieces into the editing process where the script takes shape.

YOUR TREATMENT

      A treatment (for a documentary film) is usually one to three pages that overview the project in a narrative form, as a short, detailed story (with a beginning, a middle, and an end) describing what the audience will see on the screen. If you are writing it for yourself, which is useful, it should be one of the first things you do. However, some filmmakers wait until they approach funders and use the treatment as a frame for others to better understand what you are planning to do. As you go forward, for some potential funders, you may need to write a much longer treatment. Eventually, you will write a full proposal.

      You can use your treatment as a springboard to write a proposal, create a budget, raise money, and do preproduction planning. It will help you estimate out how many locations, shooting days, and interviewees you might need to make your film.

      Ideally, a treatment will pull the reader in immediately, creating interest, and a desire to read all the way to the end. Make your treatment concise, yet detailed. The details will engage the reader, and help you to figure out how to “flesh out” your film.

      At this point, you might review how other filmmakers have solved problems similar to ones you face. As you work on your treatment, you can combine previous approaches with your own, and come up with new ways to use the elements you have to work with.

      You might begin your treatment by describing an interesting event, anecdote, or scene. Tell the reader what he or she will see onscreen as the event plays out. When you have a compelling opening, tell the rest of the story in a way that will hold a reader from beginning to end. As you write, keep in mind that the treatment is only a rough sketch of what your film might look like. The final story will be decided in the editing room.

WAYS TO TELL YOUR STORY

      Once you are clear whether or not you will have a script, the question becomes: What filmmaking style will be yours?

      In film school, students usually learn different styles of documentary filmmaking. Then, when they set out to make a film, they choose the appropriate style.

      But as long as you are familiar with the major styles as options, you may choose one style, and stay with it through the film, or you may mix styles as the material demands. As you discover your own style, you might watch documentaries made in different styles, and choose one or more that feel right for you and your films.

       Some Styles Used by Documentary Filmmakers

      In his book Introduction to Documentary, Bill Nichols defines five distinct styles of documentary:

       The Filmmaker as Poet

       The Filmmaker as Teacher

       The Filmmaker as Observer

       The Filmmaker as a Participant

       The Filmmaker as Performer

      Let’s look at several these major “styles” of documentaries:

       As Poet

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