Documentary filmmakers handbook PDF
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Documentary Filmmakers Handbook This page intentionally left blank Documentary Filmmakers Handbook N E ED CKHARDT McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London LIBRARYOFCONGRESSCATALOGUING-IN-PUBLICATIONDATA Eckhardt, Ned, 1940– Documentary filmmakers handbook / Ned Eckhardt. p. cm. Includes bibliographical references and index. ISBN 0-7864-6043-4 softcover : 50# acid free paper ¡. Documentary films—Production and direction—Handbooks, manuals, etc. I. Title. PN¡995.9.D62E35 20¡2 070.¡'8—dc23 20¡¡039669 BRITISHLIBRARYCATALOGUINGDATAAREAVAILABLE © 2012 Ned Eckhardt. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. Front cover design by David K. Landis (Shake It Loose Graphics) Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com This book is dedicated to all of the documentary students who have taught me so much about finding and telling compelling stories. Their passion and collaborative drive have been a never-ending inspiration. My children, Giana and Bret, and wife, Didi, continue to make my fam- ily life an unending joy. To them I extend my deepest thanks. Finally, the memory of my parents, who worked so hard to provide me with a positive moral, social, and educational foundation, has moti- vated me to aspire to excellence and hopefully make them proud. This page intentionally left blank Acknowledgments This book is the culmination of many Brand, Carl Frandino, Terry Coyle, Kath- years of teaching television and documen- leen Murphy, Chris Winkler, David Bian- tary production. My own documentary culli, Tara Bennett, and Mary Gifford. production career has paralleled my teach- The creative problem-solving organi- ing career and I am continually amazed at zation, Odyssey of the Mind, opened my how much I have learned from my stu- eyes to the beauty and power of creative dents. Their excitement, creativity, and thinking and imaginative teamwork. I dedication have inspired me both in the adapted many of its learning techniques classroom and out. into my own classroom, productions, and In 1990 my first documentary produc- life. tion class was extraordinary. Those 12 stu- The documentarians whose voices are dents proved to me that the documentary heard in this book inspired me to begin the form could give a voice to young produc- journey to write this book. They are di- tion people who were looking for ways to verse, yet connected to each other in their tell their stories to others. The tradition of passion for finding and telling their stories. excellence they established lives on and To Arnold Shapiro, Deborah Oppenheimer, thrives today. That class also allowed me to Connie Bottinelli, Paul Gallagher, Keiko Ibi, prove to myself that I could successfully Carolyn Scharf, Keith Gale, Heidi Ewing, teach a class dedicated to making socially- Rachel Grady, and Michael DiLauro my oriented documentaries. That class in- deepest thanks. cluded Keith Gale, Michelle Decker, Scott The people in my personal life who O’Leary, Mary Weydt, Scott DePace, Jen- have inspired and supported me include nifer Calhoun, Don Roman, Jill Stone, my best friend, Frank McLaughlin, whose Scott Chew, Karen Thomas, Dave Fried- mentoring and nurturing helped me find man, and Lori Libutti. Tom Rosa, Pete Sand- my way and stay on course, my wife, Didi, ford, Bob Christensen, and Joe Truncale who taught me the value of blending work are also former students who have in- with family obligations, and thus enriched fluenced my life in a large way. my life immeasurably, my daughter, Giana, My colleagues in the Radio/TV/F ilm who has always been a voice I listen to, Department at Rowan University have and whose life continues to inspire me, been wonderful sources of advice, inspira- and my son, Bret, who carries the creative tion, critical feedback, and fun. They are torch along with the joy of parenthood, Mike Donovan, Joe Bierman, Ken Kaleta, and has always been a source of original- Michael Desilets, Diana Nicolae, Keith ity and laughter. vii This page intentionally left blank Table of Contents Acknowledgments vii Introduction 1 P I: P ART REPRODUCTION 1. The Documentary Tradition and Getting Started 9 2. The 12 Basic Elements of a Documentary 32 3. Design and Aesthetics 53 4. Researching and Writing a Documentary Proposal 72 P II: F S P ART IELD AND TUDIO RODUCTION 5. Production Equipment and Decisions 93 6. Your Storytellers: Interviews and Conversations 105 7. Shooting Creative and Effective B-roll 122 P III: P ART OSTPRODUCTION 8. Editing and Postproduction 137 9. Ethics, Fair Use, and the Law 150 10. Funding Your Documentary and Connecting to Your Community 164 11. Why We Do It 172 Bibliography 185 Index 191 ix
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