What is a documentary?
A broad genre and term used to describe a non-fiction movie that in some way "documents" or represents reality.
However, rather than the dry, dull 'BBC' style of documentary that the term suggests, documentaries come in many forms and genres. Traditional documentary, TV news or journalism, reality TV, corporate videos, marketing and infotainment forms - these all involve documentary processes and forms in one way or another. Today, documentaries can be as vibrant and dramatic as any drama and are as manipulated as any fictional work to achieve their dramatic aims.
The expository mode:
The ‘traditional’ mode of documentary, often heavily researched, and aims to educate and explain things about events and issues.
Expository documentaries are built around interviews, illustrative graphics, actuality footage and voice-over narration.
Observational mode:
Observational docos strive for cinematic realism and reached their height with the ‘cinema verite’ films of the 1950s and 60s. The proponents of this style, such as Frederick Wiseman and the Mayles Brothers – sought to film reality ‘as it occurred’, and avoided contrivances such as voice-over or music in order to capture actuality and present a ‘realism’ to an audience
Participatory mode:
The filmmaker here actively engages with the situation they are documenting. Aims for immediacy and often presents the filmmaker’s point of view.
Michael Moore and Louis Theroux are both great examples of this style. There’s often no scene until they have confronted or interacted with someone to create a scene, and thereby make a point.
Reflexive Mode:
Reflexive documentaries ask the audience to acknowledge the construction of the film they are watching. They contend that it is impossible to show a purely objective and truthful subject due to the number of influences and processes that go into a documentary. From the way the camera is shot, to the editing itself, there will always be subjectivity or choices that need to be made which will determine the course of the story.
Poetic mode:
Typically emphasizes cinematic ideas over content to create visual poetry. Tends to be non-narrative, with ideas and themes emerging from the imagery.
Shot design, composition and rhythm achieved in editing are hallmarks of the genre.
The narrative, if any, is expressed visually rather than rhetorically (meaning).
Performative documentary:
These use an amalgamation of styles used to stress subject experience and share their responses with the audience. They often connect personal experiences and juxtapose them with larger political or historical issues.
Known sometimes as the Michael Moore style, which itself borrows from the tabloid techniques of TV current affairs journalist. He uses his own personal stories or intense feelings on a topic to construct socio-political truths.
Most documentaries don’t have a script, as you’ll be cutting actuality footage or stock footage. Often, everyone may be aware of a broad concept, but the main story or stories aren’t clear until the footage is examined. A good place to begin is;
Talk to the director. Find out what their intention is. Do they have an idea about content, a story or a character? What can they tell you about the main themes or stylistic approach?
Read available treatments or funding applications written by the director or producer. Before the film has been shot, someone has probably created pitch documentation or a funding application. Such documentation is a useful place to start.
Usually written by the producer to obtain funding
Breaks down the story themes of a documentary
May provide a planned story structure
Provides extra context that may not be apparent in the rushes.
Read any interview transcripts.
A written version of an interview or discussion
Usually refers to timecode points on the footage
Most often used by the director to write a paper edit
Can get a sense of characters, dramatic conflicts
Useful as you can do a keyword search
Critical in putting together a ‘script’.
Watch all rushes if you have time in the schedule.
Watching (and logging) the rushes allows you to immerse yourself in the footage and the characters. You can pick up a character's point of views, their dialogue rhythms, their interests and passions.
If the director has written a paper edit – start assembling using that.
A paper edit...
Outlines an edit in sequential order
Usually written by the director
Includes voice-over, dialogue excerpts and timecodes for footage to be included
Can include stylistic directions
Fast way to get the first assemble completed
Not a Bible, but a spring-board for further creative ideas.
Otherwise, prioritise most of the narratively important scenes to edit.