Class Notes: Week 2
Pilar
-Works for Duke I&E as a day job, but runs her own production company on the side
-Enjoys production the most
-Runs projects from the beginning to end
-Works with story development with various clients
-Also works on writing and photography
-Does what she feels like doing, but is particularly drawn to writing
-Enjoys production the most
-Runs projects from the beginning to end
-Works with story development with various clients
-Also works on writing and photography
-Does what she feels like doing, but is particularly drawn to writing
Bonnie
-Nonfiction television
-Independent producer at Trailblazer Studios
-Do reality television shows, but loves long-form documentary
-Has been an editor for a very long time
-Loves editing, except for long hours, clients, etc
-from Philadelphia
-has taught editing at Duke
-Loves storytelling elements of editing, not the technical elements of editing
When passion and creativity becomes your job
-You can put yourself into a project so much, but you also have a job to do
-Try to balance your own personal narrative voice with the job that you’re completing — in reality, the client comes first
-Independent producer at Trailblazer Studios
-Do reality television shows, but loves long-form documentary
-Has been an editor for a very long time
-Loves editing, except for long hours, clients, etc
-from Philadelphia
-has taught editing at Duke
-Loves storytelling elements of editing, not the technical elements of editing
When passion and creativity becomes your job
-You can put yourself into a project so much, but you also have a job to do
-Try to balance your own personal narrative voice with the job that you’re completing — in reality, the client comes first
Q&A
On sustaining creativity over a long period of time
Pilar: On Amy Dillard. One of the best essayists alive right now. Writes about “showing up.” Just sitting in the chair. You + Your Project. Oftentimes alone. Just be there. Put yourself in the chair, and believe that something is going to happen. I’ve done this before.
Carson: I shake up my career whenever I feel stagnant.
Bonnie: When I am stuck, or I feel insecure, I have to hide it. I can’t really share that. I personally just shut my door and disengage to get myself back on creative track, but always alone.
This class is focused on documentary journalism
-Be ready for the unexpected
Filmmaker/Subject Relationship
-Don’t ask the most important questions first — always establish a sense of trust
-Can always re-ask a question later on
Pilar: Verité - truth - the classic standard of where documentary came from. She worked on a story that followed scientists for two years. Always had a mic on somebody, so that if they got up and moved around, you were basically there. Capturing moments of person-in-action is almost always more valuable than a sitting interview.
Carson: I call this an experiential interview. Going to follow along while they go about their activities.
Bonnie: Don’t ask a yes-or-no question. Her pet peeve.
Bonnie: In this time parameter (2:30-3:30), you want to really get at the essence of that person. It’s all about nuances. Some B-roll tells you more about a person than the interview. In this time parameter, it’s really difficult to tell more than two story arcs (one major and one minor).
Amy: Ira talks about figuring out how to build in those surprises, and answer those questions. If you’re not into it, take a break and come back. Still not feeling it? Kill it.
Pilar: I worked on an immigration documentary over four days, when I really could’ve done great work if I had more time. Access is a huge part of which story you can tell. (Think limited access versus full access. You want full access).
QUESTION: Tips on finding stories
A: Pay attention. Listen to things. Watch things. Sometimes people bring you things, but always listen to what people are talking about. Follow up. Ask questions. Do initial research. Do your own research. Determine access points.
Bonnie: We were pitching a story about veterinarians without borders. In order to put the pitch together, I was going to research disaster relief for animals. What springs off of this that I can research? You’d be amazed.
Amy: General curiosity. Always wins.
QUESTION: How do you put creativity into reality television that is profit-driven?
Bonnie: It is difficult. It’s very formulaic. Formula is set up in the early stages. You have to understand the formula and be creative within the formula. In reality tv, four acts, really defined. Working on a show about an architectural firm who knock down buildings and build something else. Based off of four characters, and each act has to be 4:30 long. There are four of them. Commercials between. Always end with a cliffhanger. Within that, there is a certain amount of creativity. Some people can attack it as a product/formula.
Chris post-class note: Reality television isn’t the only formulaic storytelling in media. When I was working in Los Angeles, my job was a ton of script coverage for TV pilots and feature films. The producers and execs I worked for wanted scripts broken down into the various acts (feature films are traditionally three acts; and TV is broken into acts/cliffhangers based on the number of commercials). Even though reality is obviously formulaic, many mediums have formulas that are expected to be filled in bigger industries. Learning how to work within those formulas are incredibly key; if you can do it, you make yourself much more valuable to employers.
QUESTION: Innovators in reality television?
Bonnie: Honestly, I don’t really watch it. Different networks vary. For instance, Discovery has six acts and they run nine of those. But that’s a whole different type of editing. Even though I work in reality tv because I have to, it isn’t my background. National Geographic was hour-long. We had to deliver a seamless, 54-minute, with no commercial breaks. That’s what I like. All different models.
QUESTION: How does distribution (with online media) affect the storytelling?
Carson: I fight daily to make stories/acts shorter because of the shortening attention span. In general, go shorter and break it up into easily digestible chunks.
Bonnie: We are being asked for more webisodes which are maximum three minutes, for the web.
Pilar: Anything that can be seen on television/film/theater can also be seen on your box/computer. That’s because everything is being compacted into the internet over time. Virality also affects the landscape. Consumers can spend the same amount of time watching something that costs $24MM as they can to watch something that costs $0 to make.
Pilar: On Amy Dillard. One of the best essayists alive right now. Writes about “showing up.” Just sitting in the chair. You + Your Project. Oftentimes alone. Just be there. Put yourself in the chair, and believe that something is going to happen. I’ve done this before.
Carson: I shake up my career whenever I feel stagnant.
Bonnie: When I am stuck, or I feel insecure, I have to hide it. I can’t really share that. I personally just shut my door and disengage to get myself back on creative track, but always alone.
This class is focused on documentary journalism
-Be ready for the unexpected
Filmmaker/Subject Relationship
-Don’t ask the most important questions first — always establish a sense of trust
-Can always re-ask a question later on
Pilar: Verité - truth - the classic standard of where documentary came from. She worked on a story that followed scientists for two years. Always had a mic on somebody, so that if they got up and moved around, you were basically there. Capturing moments of person-in-action is almost always more valuable than a sitting interview.
Carson: I call this an experiential interview. Going to follow along while they go about their activities.
Bonnie: Don’t ask a yes-or-no question. Her pet peeve.
Bonnie: In this time parameter (2:30-3:30), you want to really get at the essence of that person. It’s all about nuances. Some B-roll tells you more about a person than the interview. In this time parameter, it’s really difficult to tell more than two story arcs (one major and one minor).
Amy: Ira talks about figuring out how to build in those surprises, and answer those questions. If you’re not into it, take a break and come back. Still not feeling it? Kill it.
Pilar: I worked on an immigration documentary over four days, when I really could’ve done great work if I had more time. Access is a huge part of which story you can tell. (Think limited access versus full access. You want full access).
QUESTION: Tips on finding stories
A: Pay attention. Listen to things. Watch things. Sometimes people bring you things, but always listen to what people are talking about. Follow up. Ask questions. Do initial research. Do your own research. Determine access points.
Bonnie: We were pitching a story about veterinarians without borders. In order to put the pitch together, I was going to research disaster relief for animals. What springs off of this that I can research? You’d be amazed.
Amy: General curiosity. Always wins.
QUESTION: How do you put creativity into reality television that is profit-driven?
Bonnie: It is difficult. It’s very formulaic. Formula is set up in the early stages. You have to understand the formula and be creative within the formula. In reality tv, four acts, really defined. Working on a show about an architectural firm who knock down buildings and build something else. Based off of four characters, and each act has to be 4:30 long. There are four of them. Commercials between. Always end with a cliffhanger. Within that, there is a certain amount of creativity. Some people can attack it as a product/formula.
Chris post-class note: Reality television isn’t the only formulaic storytelling in media. When I was working in Los Angeles, my job was a ton of script coverage for TV pilots and feature films. The producers and execs I worked for wanted scripts broken down into the various acts (feature films are traditionally three acts; and TV is broken into acts/cliffhangers based on the number of commercials). Even though reality is obviously formulaic, many mediums have formulas that are expected to be filled in bigger industries. Learning how to work within those formulas are incredibly key; if you can do it, you make yourself much more valuable to employers.
QUESTION: Innovators in reality television?
Bonnie: Honestly, I don’t really watch it. Different networks vary. For instance, Discovery has six acts and they run nine of those. But that’s a whole different type of editing. Even though I work in reality tv because I have to, it isn’t my background. National Geographic was hour-long. We had to deliver a seamless, 54-minute, with no commercial breaks. That’s what I like. All different models.
QUESTION: How does distribution (with online media) affect the storytelling?
Carson: I fight daily to make stories/acts shorter because of the shortening attention span. In general, go shorter and break it up into easily digestible chunks.
Bonnie: We are being asked for more webisodes which are maximum three minutes, for the web.
Pilar: Anything that can be seen on television/film/theater can also be seen on your box/computer. That’s because everything is being compacted into the internet over time. Virality also affects the landscape. Consumers can spend the same amount of time watching something that costs $24MM as they can to watch something that costs $0 to make.
Pitching 101
When contacting potential subjects
-Be honest about who you are and why are you interested in chatting
-Be open to how this video will be distributed
-This is not commercial, it is not promotional
-We just want to share the story
Pitching 101
Elements to include:
-under 10 minutes for the three pitches;
-visual element (ideas of characters, websites);
-photographs; draw us in;
-be creative
-sizzle reels is something in the future, but not required for this class
-Could include a quote from the subject with whom you’ve already spoken
Bonnie’s pitch
-First thing to do after the idea, identify the audience
-Found it would be perfect for NatGeo Wild due to the content and what NatGeo Wild looks for
-So, we did a ton of research
-Contacted NatGeo Wild; the developer over there loved prior work by Bonnie, so they gave Bonnie access
-Limited versus full access is important
Tips for Structure
-Hook people at the top
-Then give context/scope to give an idea of international audience (because NatGeo Wild wants international audience)
-Let them know that people don’t know about this; it’s a story to be told
-How is this impacting the community? Why should you and your peers care? What are the stakes/challenges for your character?
-Who is going to tell the story? Who are our subjects?
-Introduce more specifics about the setting and the characters. Set the scene. What is going to make this interesting?
-Focus in a little bit more, and also use keywords (Bonnie’s example: disaster)
-Read the audience; open discussion up to the audience and ask a question
-Be honest about who you are and why are you interested in chatting
-Be open to how this video will be distributed
-This is not commercial, it is not promotional
-We just want to share the story
Pitching 101
Elements to include:
-under 10 minutes for the three pitches;
-visual element (ideas of characters, websites);
-photographs; draw us in;
-be creative
-sizzle reels is something in the future, but not required for this class
-Could include a quote from the subject with whom you’ve already spoken
Bonnie’s pitch
-First thing to do after the idea, identify the audience
-Found it would be perfect for NatGeo Wild due to the content and what NatGeo Wild looks for
-So, we did a ton of research
-Contacted NatGeo Wild; the developer over there loved prior work by Bonnie, so they gave Bonnie access
-Limited versus full access is important
Tips for Structure
-Hook people at the top
-Then give context/scope to give an idea of international audience (because NatGeo Wild wants international audience)
-Let them know that people don’t know about this; it’s a story to be told
-How is this impacting the community? Why should you and your peers care? What are the stakes/challenges for your character?
-Who is going to tell the story? Who are our subjects?
-Introduce more specifics about the setting and the characters. Set the scene. What is going to make this interesting?
-Focus in a little bit more, and also use keywords (Bonnie’s example: disaster)
-Read the audience; open discussion up to the audience and ask a question
Sample Pitch from Chris White
Basic breakdown of one of my pitches from last year
My story: Pompieri Pizza
Theme: Food entrepreneurs in Durham as the framework
Sophie and I found Pompieri Pizza, a great local pizza joint and she found that they use an aquaponics system — basically they use fish tanks to grow and produce their own basil and other green seasonings.
In the pitch:
-This is a great pizza place, they cut their pizza with scissors, etc etc.
-All home-grown, organic, local ingredients
-But, there’s more: Aquaponics
-What is aquaponics??
-It’s this cool system where Pompieri maintains a system of fish tanks (with live fish) and literally circulate water and grow plants that they then use to season their pizza.
-This system is great, why doesn’t everybody do it? Well it’s really, difficult to maintain. The system couldn’t go live for 6-12 months, you had to pay for people to feed the fish, clean the tanks.
-Brainchild of Seth Gross, the owner - charismatic, loves Durham, loves pizza, loves local, loves environment
-Why does he do this? He wants Durham to be sustainable and he wants to be part of that change and lead by example.
-For example, he doesn’t give out pizza boxes for leftovers — he gives out aluminum foil.
-It’s his root and his belief in food sustainability that he does this — every little difference matters, no matter the effort
-Story is great, can be told within the parameters, he’s giving us full access, and there’s nothing better than a close-up shot of pizza cooking in a fire oven right before a show of beautiful fish in tanks
My story: Pompieri Pizza
Theme: Food entrepreneurs in Durham as the framework
Sophie and I found Pompieri Pizza, a great local pizza joint and she found that they use an aquaponics system — basically they use fish tanks to grow and produce their own basil and other green seasonings.
In the pitch:
-This is a great pizza place, they cut their pizza with scissors, etc etc.
-All home-grown, organic, local ingredients
-But, there’s more: Aquaponics
-What is aquaponics??
-It’s this cool system where Pompieri maintains a system of fish tanks (with live fish) and literally circulate water and grow plants that they then use to season their pizza.
-This system is great, why doesn’t everybody do it? Well it’s really, difficult to maintain. The system couldn’t go live for 6-12 months, you had to pay for people to feed the fish, clean the tanks.
-Brainchild of Seth Gross, the owner - charismatic, loves Durham, loves pizza, loves local, loves environment
-Why does he do this? He wants Durham to be sustainable and he wants to be part of that change and lead by example.
-For example, he doesn’t give out pizza boxes for leftovers — he gives out aluminum foil.
-It’s his root and his belief in food sustainability that he does this — every little difference matters, no matter the effort
-Story is great, can be told within the parameters, he’s giving us full access, and there’s nothing better than a close-up shot of pizza cooking in a fire oven right before a show of beautiful fish in tanks
