9781422287088

Filmmaking & Documentaries

Acting: Stage & Screen

Art Festivals & Galleries: The Art of Selling Art

Comedy & Comedians

Filmmaking & Documentaries

Music & Musicians

Painting

Performing Arts

Photography

Sculpting

Writing: Stories, Poetry, Song, & Rap

Filmmaking & Documentaries

Z.B. Hill

Mason Crest

Mason Crest 450 Parkway Drive, Suite D

Broomall, PA 19008 www.masoncrest.com

Copyright © 2015 by Mason Crest, an imprint of National Highlights, Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, taping, or any information storage and retrieval system, without permission from the publisher.

Printed and bound in the United States of America.

First printing 9 8 7 6 5 4 3 2 1

Series ISBN: 978-1-4222-3167-8 ISBN: 978-1-4222-3171-5 ebook ISBN: 978-1-4222-8708-8

Library of Congress Cataloging-in-Publication Data

Hill, Z. B. Filmmaking & documentaries / Z.B. Hill. pages cm. — (Art today!) Includes index.

ISBN 978-1-4222-3171-5 (hardback) — ISBN 978-1-4222-3167-8 (se- ries) — ISBN 978-1-4222-8708-8 (ebook) 1. Motion pictures—Produc- tion and direction. 2. Documentary films—Production and direction. I. Title. II. Title: Filmmaking and documentaries. PN1995.9.P7H5 2014 070.1’8—dc23 2014011828

Contents

1. Creating Films and Documentaries

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2. The History of Filmmaking and Documentaries 3. The Business of Filmmaking and Documentaries

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4. How Can I Get Involved in Filmmaking and Documentaries?

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Find Out More

Series Glossary of Key Terms

Index

About the Author & Picture Credits

Words to Understand technical: Having to do with the mechanical and techno- logical parts of making a video. cast: The actors appearing in a performance. chronological: Appearing in the same order that they really happened. enhanced: Artificially improved. green screen: A blank green background that actors perform in front of. Different videos and special effects can be added in the place of the green background later. affiliated: Officially connected to. studio: A company that produces movies and television shows.

Chapter One

Creating Fi lms and Documentar ies

W hether we’re sitting in front of television or in a movie theater, most of us spend a lot of time watching movies and documen- taries. We can be entertained by them, terrified by others, educated by some, and even spurred to action by some films. When we are lucky, more than one of those things can happen with the same movie. When we watch a movie, the actors on the screen capture our atten- tion. We get caught up in the plot and action. And unless there are top- notch special effects, we might forget that many parts go into making films and documentaries that do not directly involve actors.

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FILMMAKING & DOCUMENTA RIES

That movie that made you and your friends laugh so much started out as an idea in someone’s head.

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Creating Films and Documentaries

FIVE STEPS OF FILM AND DOCUMENTARY PRODUCTION

Films tell a story. They often use actors and various effects to create a story. The story could be true or fiction, or a combination of both. Documentaries, on the other hand, are always nonfiction. The people who are actually involved in the story often appear in the documentary. Technically speaking, all documentaries can be called films, but not all films are documentaries. Whether making a film or a documentary, projects go through the same steps. Not all steps are completed in the same way or in the same order, but all must be tackled if a project is going to be successful. The Idea Before anything else, there needs to be an idea. You’ve probably thought from time to time, That would make a great movie! Or you learn about an event or person, and then you search for a documentary on the same subject. But you’ve also probably seen enough bad movies and docu- mentaries to know not every idea makes a good film. To increase the likelihood of success, you have to think beyond your likes and interests. You must accept the fact that just because something interests you, it may not interest others—at least not in the numbers nec- essary to attract the interest of those with the power to get the project made. But if you’re a filmmaker (or you want to be a filmmaker), this doesn’t mean you shouldn’t write about whatever interests or is important to you. Do you have special knowledge of or experience with a particular subject? This perspective can make a subject interesting to an audience. Once you come up with an idea, it’s time to turn it into a script. Many scriptwriters like to summarize the project in one sentence. This helps them clarify the project in their minds. After all, if it’s not clear to the screenwriter, it is unlikely audiences will understand it either. Ask your- self who you want to see the film, how you want the audience to feel

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FILMMAKING & DOCUMENTA RIES

after seeing it, and, especially if it is a documentary, what action do you want them to take after seeing it? Some filmmakers make a storyboard, using pictures to show the key points of the plot. This can be helpful to people who find it easier to visualize things instead of read about them. Preproduction Making a plan is pretty much necessary for much of life. It’s true in ev- eryday life and in making a movie or documentary. During the preproduction phase, plans are made for all the technical and creative parts of the project. This is also when those involved in the project imagine all the problems that can come up during production. Plans for solving them can be made in advance. Problems delay produc- tion, and delays can seriously increase production costs. Not a good thing, obviously. Film actors are cast during the preproduction stage. For documenta- ries, those who are to appear are contacted and arrangements made for filming them. One of the most difficult things to plan is the schedule. It’s important to establish a schedule as soon as possible. Among things to consider when setting a schedule is how many days will be needed to complete the project. With this information, you can plan your schedule to maxi- mize efficiency and stay within budget. Someone will also be responsible for finding shooting locations, and designing and making sets, if needed. Basic camera shots will need to be planned. And since things seldom go as planned—even with good preproduction—contingency plans need to be made. Production Whether a movie or a documentary, actual shooting occurs during the production stage. A well-written script and good planning during pre- production can make shooting easier and efficient, saving money.

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Creating Films and Documentaries

Make Connections: Footage The use of the word “footage” in f ilmmaking originated dur- ing the silent f ilm. Thirty-f ive millimeter f ilm is measured in feet and frames. One second of 35mm f ilm was made up of 16 frames. After a while, the word began to be used for any type of moving images.

Recording of the soundtrack also takes place during this stage. The only sounds coming from the set during this time must be the ones called for in the script. “Quiet on the set!” is not said just for fun. Microphones used for film and documentary production are very sensitive. If they pick up unwanted noises, the scene will have to be reshot. And that can lead to a production delay—and increased costs. Postproduction The end of shooting does not mean the film or documentary is ready to hit the screen. In fact, the raw footage will likely bear little resemblance to the final product. There is much more to be done. Editing is done during postproduction. Films and documentaries are generally not shot in chronological sequence. For example, on a rainy night, all scenes needing that background may be shot the same night, even though they take place on several days in the story. The editors take all the film and assemble it in the order the events take place in the script. The soundtrack is also edited during postproduction. Sounds can be enhanced during this stage. Places where sound needs to be re- recorded can be spotted and fixed.

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FILMMAKING & DOCUMENTA RIES

When it comes to distributing films, modern technology has moved even further than television studios—but some things haven’t changed. People have to want to see the films in order for them to make money.

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Creating Films and Documentaries

Special effects are also inserted during postproduction. Computer- generated imagery (CGI) replaces the green screen from the raw footage. Sometimes when you take photographs, the color doesn’t come out the way you want or expect. This can happen in movies and documen- taries, too. Color can be corrected during postproduction. In most documentaries and some movies, narration is added. The narration can be used to tell the story or tie up loose ends. Distribution The film or documentary is not going to be successful unless people see it. The project gets to the audience during the distribution process. If the film is not affiliated with a major studio , the first step is to find one to support the film, if possible. Film distributors take the completed project to theaters and sell rights to show it on television. DVDs, cable and satel- lite channels, and the Internet increases a project’s potential audience. An intense postproduction marketing campaign also occurs. Actors appearing in the project go on extensive promo tours. A film’s director, producer, or writer may also make promotional appearances. They are more likely to do so with documentaries, because most do not have a big-name star in the project. Besides driving audiences to theaters, television sets, or computers to watch the finished products, those involved in marketing also focus on other things. Ads are placed in trade publications to encourage award nominations, including the Academy Awards. Some films have products associated with them, such as toys, clothing items, and books. Market- ing departments make the connections and help promote the products.

SOME DIFFERENCES BETWEEN FILMS AND DOCUMENTARIES

As mentioned earlier in this chapter, although technically documentaries are films, people often use the two words to talk about two somewhat different things.

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Subject Most films are primarily meant to entertain audiences. For a while, peo- ple can escape their problems and enjoy some time away from reality. Documentaries, on the other hand, are aimed at catching the audi- ence’s attention. They want to inform viewers about a subject. Some even want the audience to take action about something. Fiction or Nonfiction Most movies are fiction. Even those based on real events generally have extra drama, added through the imagination of those involved in writing the script. All documentaries are nonfiction. New characters and events are not created for documentaries. The Telling of the Story Films have to fill the screen for up to two hours or more. This allows time to develop complex characters and plot twists. Multiple cameras and camera views help bring the audience into the film. Film writers use many of the same techniques that novel writers do. Through the movie’s script, characters, and action, viewers experience a story’s beginning, middle, high point (climax), and end ( denouement ). Most people who appear in documentaries are not actors. They don’t act, and the words they say come from them, not a script. Without a script, those making the documentary can be surprised at what ends up being said! It makes the process of making a documentary less predict- able. Sometimes the story takes off in a different direction from what the creators had originally planned. While films have the benefit of multiple cameras to provide shots of characters and action from many perspectives, a single camera is often used in documentaries. In some cases, it may not be that different from the one you and your family use to record events.