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    Directing the Documentary

    Por Michael Rabiger
    Existem 15 citações disponíveis para Directing the Documentary

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    Directing the Documentary, Sixth Edition is the definitive book on the form, offering time-tested principles to help you master the craft. Ideal for documentary courses as well as aspiring and established documentary filmmakers, this book has it all, with in-depth lessons and insider perspectives on every aspect of preproduction, production, and postproduction. Focusing on the hands-on work needed to make your concept a reality, this new edition covers it all, from the fundamental to advanced elements of directing and more. It includes dozens of projects, practical exercises, and thought-provoking questions, and provides best practices for researching and honing your documentary idea, developing a crew, guiding your team, maintaining control throughout the shoot, and much more.


    This new edition features:




    • A two-stage cinematic learning process: camera observation skills, then advanced storytelling



    • Dozens of real-world exercises and case studies to demystify production processes and enhance your skills



    • Easy-to-comprehend guidance in the creative, technical, and artistic aspects of directing



    • Fresh coverage of the latest filmmaking technology



    • Expanded sections on grant writing and fundraising, emphasizing proposal and pitching skills



    • A self-assessment of your interviewing skills and expanded coverage of narration-writing



    • A companion website (www.directingthedocumentary.com) that includes handy production checklists and forms, updated projects, exercises, and video examples


    In Directing the Documentary, Sixth Edition Michael Rabiger combines expert advice on the storytelling process and technical aspects of documentary filmmaking with sound commentary on the philosophical underpinnings of the art, providing the practical and holistic understanding you need to become a highly-regarded, original, and ethical contributor to the genre.

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    Citações de Directing the Documentary

    Films whose participants seem unaware they are being filmed are called transparent films.

    As a director, you will need to find central characters who can fascinate an audience. The key is simple: look for people who are trying to get, do, or accomplish something

    Make your start with a simple pledge: I will not put anything on the screen unless it reveals something, however small, that I have discovered for myself about the human condition.

    All compelling art arises because someone has sought understanding and taken a journey fundamental to human development and wellbeing.

    Bad narration, however, ● Describes what is already evident from the picture. ● Is condescending. ● Uses the pseudo-scientific passive voice. ● Uses convoluted sentences, and sonorous, ready-made phrases and clichés. ● Uses jargon or corporate-speak rather than workaday speech. ● Over-informs, leaving the audience no time to imagine or contemplate.

    What matters is that your central character—knowingly or otherwise—is engaged in a struggle of some kind.

    You won’t need clearance, however, if the music is a legitimate part of a scene, coming from a radio in a store, say, or made by a visible street musician.

    Film music, like debt and smoking, is easier to start than stop, and ending a section of music without giving the audience withdrawal pains can be difficult.

    Long and complex films present two main kinds of problem in editing. One is the familiar task of achieving integrity and flow in individual sequences, and the other is the more intangible difficulty of getting the film’s architecture right. This matters because it is the support structure upholding the audience through a mass of related issues, and it should lead to a rewarding conclusion.

    Does the film quickly imply a “contract” so the audience can decide to stay with what lies ahead?

    In Literature and Film, Robert Richardson goes to the heart of the filmmaker’s problem: Literature often has the problem of making the significant somehow visible, while film often finds itself trying to make the visible significant. 1

    Only a few years ago the idea of someone being hired to primarily work on social media would have been unheard of.

    Remember, you are what you write, so develop the very best proposals you can produce, equip yourself with a firstrate demo reel, then try your luck—and keep trying.

    Directors often fail to define the paradigm for their film—that is, the central and irreducible purpose of their story.

    Why not ask what drives him or her? The simple fact is that none of us has much idea of our own deepest drives.

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