Posts Tagged ‘Directing Documentary Films’

INTO GREAT SILENCE – INSIDE THE FAMED CARTHUSIAN MONASTERY

Saturday, May 14th, 2011

Have you ever wanted to spend a year as a monk in a monastery where conversation is not allowed? Where there is basically a vow of silence? Where you can read, meditate, sing and pray? Well, Into Great Silence is your opportunity to experience a year at The Carthusian Monastery in the French Alps.  A year with the monks, all in less than three very quiet hours. Director Philip Gröning allows you to experience daily life at the monastery over four seasons of the year, beginning during the winter months. Two young men are initiated early in the film providing a glimpse of what it would be like to enter the order complete with having your head shaved.

At first, life in the huge monastery in the French Alps, seems tedious. A monk is seen kneeling in prayer, not moving. Daily life is slow and cloistered by the winter snows. When spring finally arrives there is new energy including the monks taking a walk, which is the one time they are allowed to chat. Something they seem to enjoy as they walk around on the mountain. It is obvious that they are in touch with the modern world, fresh fruit on the table, a monk doing some accounting on a laptop and an electric razor to shave the head of the new monk. However, they choose to live a very simple life with few conveniences.

Into Great Silence has no interviews, no voice over, no archival footage, no historical information, and no musical score, with the exception of the monks singing or chanting as part of their routine. The filmmaker lived at Grande Chartreuse, in the monk’s quarters. No artificial lighting was used. The documentary style is pure observer, what is known as “Direct Cinema” in the United States or a form of “Cinema Verite” in Europe. But Into Great Silence goes beyond “fly on the wall” voyeurism. The film brings you into the notion of monastic life as if you were part of it. In some ways it promotes the feeling that you are an initiate who is unsure if he can endure this life style. Early in the film there is a shot of the clear blue French Alps sky as a passenger jet flies across. A glimpse of a mundane faraway world you have left behind. Later in the film another shot of a passenger jet flying over, but this time you may experience the feeling that you would like to be on it!

It took twenty-one years for filmmaker Philip Gröning to make Into Great Silence. This includes sixteen years waiting to get permission to make the documentary, two years of preproduction, one year of production at the monastery and two years of postproduction. In fact the documentary also has a “not in a hurry” kind of ambiance. Ken Burns is quoted as saying “…that all meaning accrues in duration,” when responding to the length of his documentary films. Into Great Silence may be a prime example of  “meaning accruing in duration.”  In this case, what life is like in this monastery.

The cinematography in the documentary captures moments of light and texture at the monastery.  Shadows on the floor, a drape blowing in the wind, light coming in a window or door, monks walking down the halls, the change of seasons, weather, and food preparation. These are moments that are often not contemplated; overlooked in the rush of shooting actuality as it happens.

Into Great Silence is not an experience for impatient people. It is removed from the fast moving, action-oriented films that dominate the cinema today. However, if you can relax and get into the rhythm of a way of life that is basically the same as it has been for hundreds of years, you may find yourself experiencing a reality that is much different than the one with which you are familiar.

The Into Great Silence DVD release includes two discs. Disc Two includes additional scenes, including a segment about the world famous Carthusian Chartreuse Liqueur; Night Office, a fifty-three minute video except of the monk’s nightly ritual of psalms, laudes, and matins; The Carthusians, an extreme guide to the history, rules, architecture and paintings of the monasteries world wide; and several other interesting video features.

J R MARTIN – Author Create Documentary Films, Videos and Multimedia

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INSIDE JOB 2011 OSCAR BEST DOCUMENTARY FEATURE FILM - THE FILM THAT COST OVER $20,000,000,000,000 TO MAKE

Sunday, March 13th, 2011

Inside Job tells the nonfiction story of the global economic crisis of 2008 including the history that leads up to this disaster. Inside Job goes beyond documenting the event from a historical perspective; it discusses the cause of the catastrophe, and names the culprits who cashed in, benefiting at the expense of the taxpayers. The documentary does all this in a way that is insightful and not difficult to comprehend. Inside Job is the rare documentary that definitely looks at problems,  issues, causes, and outcomes, then offers solutions to stop it from happening again. This 2010 Oscar winning documentary should be seen by citizens of the United States and citizens of countries world wide.

Inside Job makes a strong case for the prosecution of individuals, bankers and others involved in criminal activities including fraud and for the reinstating of regulations that would prevent the banking industry from repeating the same crimes.

From the first frame of Inside Job it’s clear that main factor facilitating the crisis is deregulation. The film opens by exploring what happened in Iceland, after this once prosperous country of 350,000 people, decided to deregulate their banks. The meltdown of the economy in Iceland reflects a miniature version of what happened globally and in the United States.

As a documentary film Inside Job combines archival material, interviews, narration by Matt Damon, and footage that supports the interviews and complements the story. What might have been 109 minutes of talking heads becomes a well paced, visually interesting documentary. The cinematography by Svetlana Cvetko and Kalyanee Mam is excellent. The use of graphics helps make points and explain issues. Sound design is effective.  Because of the controversial nature of the interviews it seems appropriate that the questions being asked by the interviewer are heard off camera. No one can claim that his or her answers to the questions were taken out of context.

HenryPaulson, Ben Bernaki, Timothy Geithner -- Inside Job

 

 

 

Director Charles Ferguson (also directed No End In Sight) spent a great deal of time researching the subject and consulting with many individuals including, Charles Morris author of Two Trillion Dollar Meltdown, Nouriel Roubini, Professor, NYU Business School, Elliot Spitzer, Former Governor and former Attorney General New York, Paul Volcker, former Federal Reserve Chairman, and Barney Frank, Chairman Financial Services Committee, US House of Representatives, among others. Ferguson’s intensive research on the subject is apparent in the facts presented and his ability to ask the right questions of interviewees.

The actuality portrayed by Inside Job is historical, investigative, and educational in content. To go along with the documentary the filmmakers have created a “Study Guide for Teachers” that can be downloaded as a PDF from InsideJobStudyGuide.com. This study guide adds an interactive dimension to the documentary, opening up the advocacy aspect of the film.  One major issue examined is the complicity by economic studies educators and institutions who enabled the wrongdoing by many of the players in this story.

J R Martin

Professor Frank Partnoy who wrote the study guide states: “Inside Job, the critically acclaimed movie by Academy Award nominated [Oscar Winner] filmmaker, Charles Ferguson, is the definitive film about the economic crisis of 2008 and the role of Wall Street in modern society. It is a substantive and entertaining film that is ideal for educational purposes. I have shown it to my class, and I encourage you to show it to yours. The film is sweeping and non-partisan in its critique, and covers both the historical roots of the crisis and the central flaws of global financial regulation. It includes comprehensive coverage of the major financial players at the center of the recent boom and bust. The film draws heavily on interviews with a ‘Who’s Who’ of financial markets, including major financial insiders, politicians, journalists, and academics. (I have a very small part as well). These interviews, and the film’s engaging and provocative narrative by Matt Damon, will introduce your students to key financial issues, economic history, and current debates and news about the markets.” — Professor Frank Partnoy is the George E. Barrett Professor of Law and Finance and the founding director of the Center for Corporate and Securities Law at the University of San Diego. –


 

 

 

 

 

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WAITING FOR SUPERMAN

Wednesday, March 9th, 2011

Waiting For Superman is an advocacy documentary that explores issues facing Public Education in the United Sates. The film appears to be making a case for charter schools to replace the traditional public school systems especially in low income areas. Charter schools take public money, but are run privately. Charter schools compete with public schools and are independent of the local school board. The point-of-view of the film and its sponsors appears to be that public schools have failed nationwide and that the only solution is privatization with public money. A charter school may also take private donations. Some charter schools are independently created by parents and teachers in a neighborhood, others are chains run by corporations.

Waiting For Superman primarily deals with issues facing over crowded, under funded intercity public schools.  The children who live here have no choice but to attend substandard schools or try to get into a charter school. The charters are popular and only have room for a certain number of students. By law when charter schools have too many applicants they must hold a lottery to see who will get the limited number of places for children outside schools district.

As a documentary Waiting For Superman quickly establishes its point-of-view. The camera work and editing are basic. There are good graphics and animated examples of facts. The quasi-documentary style of this film is suspect and annoying. There is someone asking questions, off camera who is never really seen, only heard. The voice asks children leading questions, then coaches them to elicit certain responses.  The film spends a lot of time portraying the agony of families trying to get their children into the better schools through lotteries. You can empathize with the mothers, fathers and young children, but what purpose does it serve in the film except to create a more dramatic ending? What is never addressed is how these schools compete with public schools for tax money? Is this money coming from the federal and/or state government?

Waiting For Superman examines some possible solutions and successful attempts by charter schools to remedy certain problems. Unfortunately the filmmakers take the simplistic view that all the problems with public schools are the fault of teachers, teachers unions, and tenure. “Teachers and the unions are blocking progress.” The main problem as presented is tenure, which, apparently, is given to public school teachers in two years according to the documentary.  Tenure as depicted  means that an individual now has the job for life and can’t be fired. This is not exactly true, but it does preclude meritorious advancement and pay rises according to the filmmakers. The documentary doesn’t mention that the majority of K through 12 teachers are women who have faced lower pay and other hardships in the workplace.

The mantra of Waiting For Superman is, teachers are good; unions are bad; unions protect bad teachers and prevent progress and innovation. If teachers are good individually, it’s difficult to understand why collectively they become bad? Are teachers good only until they get tenure? According to the documentary, innovations instituted in charter schools can’t be introduced into public schools because of teacher’s unions.

One charter school claims success by eliminating “tracking” which they perceive as a problem.  Tracking is the process by which students are “tracked” through courses based on their previous work. The charter school, KIPP, LA Prep Middle School (part of a chain) does not track students because they feel not tracking gives all learners a chance to keep up. This sounds good on the surface but the film never discusses if the new system slows down learning for the best students and/or possibly leads to teaching to the lowest common denominator.  Article KIPP GETS MORE PUBLIC MONEY.

When it comes to inner city schools the documentary does not consider issues like poverty, state budget cuts, the economy, social problems, bias, class size and mismanagement by school boards. In fact the documentary claims that it’s the public schools fault that the neighborhood is bad.

There is an interview with Michelle Rhee, who had three years teaching experience when hired to be head of the Washington, DC school district. She immediately goes on a budget cutting, closing of schools and sacking of school principals blitz in DC that accomplished very little but alienated parents and teachers. Her contention is that the teachers have representation but not the students.  ”… teachers unions stop progress.” There is a shot of her sitting in a class whispering to a student, asking “what do you think of  your teacher?” She appears to have treated educators with contempt. She is no longer with the DC school district.

Bill Gates is interviewed and talks about how education needs to create engineers, scientists and mathematicians to help the economy and innovation. Perhaps a billion dollars to help train young teachers in the United States for this task would be proactive. Also help for inner city families, offering their children scholarships for preschool education. Instruction for illiterate parents might also be beneficial.

Inner city schools are notoriously overcrowded, with run down facilities and children who are gang members. Waiting For Superman makes it seem that some how, “good teachers” can make that all go away. Good teachers can teach students to read with no books available! In fact it seems the documentary itself is waiting for teachers to become Supermen! If only the system could get rid of those bad teachers that can’t be fired because of the union. According to the documentary that can’t happen so the only solution is charter schools. Do charter schools compete with public schools for tax money? Is this money coming from the federal and/or state government?

Not addressed in Waiting For Superman is the fact that Public Education in the United States has been under direct attack for the last thirty years. Many educators believe the goal is to “privatize” public education with taxpayer’s dollars. Ultimately families would have to pay to send their children to these private schools. The actual goal for charter schools is to become for-profit private schools. The bottom line for any for-profit entity is profit. The United States would become a third world country with no public education, no health care, no social benefits what-so-ever, thus creating a huge underclass, formally known as the middle class.

Waiting For Superman spends about fifteen minutes of the 111 minutes film running time, on middleclass suburban schools where there are less problems but the students still don’t score as well in math, science and reading skills as students in other countries. Once again the only solution is charter schools.

There are valid criticisms that can be made against teacher’s unions and the Public School systems in the United States. The documentary makes the case that things are so bad the whole system needs to be scrapped and replaced with private schools who don’t have unions.

Waiting For Superman is topical and does show some of the innovative methods used in charter schools. But it could have gone a lot farther to discuss issues and solutions to fixing or reinventing Public Schools. A lot of time that is spent on waiting for the results of charter lotteries that could have been used for a better purpose. The filmmakers do not give enough of the other side of the story for you to come to any conclusions about how to solve the problems facing education in the United States. Is the one size fits all inner city charter school model appropriate for the entire country? Is “privatization” the answer to every problem facing the US today? Why do public schools work well in other countries, the ones with all those high scores in math, science and reading? What role do the arts play in education? Has liaise-fare everything worked well in the past?

J R Martin

 

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LAST TRAIN HOME

Monday, February 28th, 2011

To a large extent life in China is opaque to the rest of the world. The most many people in North America get to see of China is the “Made In China” label on a piece of clothing or other item at Walmart. Last Train Home takes you on a train ride home and back, with one of the hundred-thirty million migrant worker families who make these export items. Every year the 130 million migrant workers in China go home for the Chinese New Year holiday. Last Train Home looks at the life of one family over approximately twenty-eight monts, including the parents pilgrimages home to spend time with their children.

Last Train Home begins in 2006 and continues through 2008 when the Olympics are held in Beijing. In the winter of 2006, filmmaker Lixin Fan and crew follow a husband and wife, the Zhangs, home from urban industrial Guangzhou to rural Huilong Village in Sichuan province.  A trip of 2100 kilometers  (1304 miles), a trip that is in doubt until the last minute when Mr. and Mrs. Zhang finally obtain tickets for the train. But having tickets is only part of the process as thousands of people are also trying to find and board trains home in hugely overcrowded train stations.

The husband and wife work in a factory and appear to live in a small room with only a curtain separating them from the hall and the noise of the rest of the building, near the workplace. They left their home and rural farm life sixteen years before to find work to support their family and send their children to school. The children have been left in Sichuan under the care of the grandmother. For most of the children’s lives they only get to see their parents at the New Years Holiday when their parents return. The relationship between parents and children is tenuous and strained in the film.

Early on the documentary makes a distinction between the life left behind in Huilong Village and the crowded, urban manufacturing environment of Guang’an. There are beautiful shots of the countryside near the end of the day in Huilong that seem far away from the crowded minimal existence of the city. The parents, working, crouched over sewing machines are contrasted with scenes of the children helping the grandmother in the fields. The children are doing manual labor but in the open air among nature. This is where you meet Qin, the sixteen-year-old daughter of the Zhangs, their ten-year-old son and the grandmother. Qin talks about how most of the young people have left the village to find jobs elsewhere. She does her farm chores and seems conflicted about continuing her education and her relationship with her parents.

The adjustment for the parents, and all migrants growing up in a rural environment, who then become workers in what appears to be harsh urban working conditions, seems to be a troublesome transition as depicted in the film. While not discussed in the documentary, the intimate conversations between husband and wife, and the interaction of members of the family point to psychological anxiety caused by this life style. This becomes apparent in a scene where there is a confrontation between Qin and her parents.

Linix Fan worked as both director and director of Photography/camera operator  with one additional camera operator. The cinematography is excellent and the coverage of the huge migration of the workers places the viewer in the midst  the huge crowds as they surge ahead to board the train. The footage of the trains moving through the Chinese countryside are beautiful and show a great deal of the terrain on the 1300-mile journey. Last Train Home is edited by Linix Fan and Mary Stephen. There is a rhythm and pacing to the editing with great use of the motion and sounds of the train. Music by Oliver Alary

At one point in the story, Qin, the daughter now seventeen, decides to leave school, come to the city and work much to the objection of her Mother. It’s interesting to see what it’s like for a young person from the country beginning to work at a sewing machine, a job that appears to have no future. This is an insightful segment from a social standpoint as Qin tries to adjust to her new life.

This documentary examines the life of the migrants and the effect of this life style on the structure of rural Chinese families. The close nit family, with children who are guided by traditional family values has been altered to the point where it brings stress on the parents and the children. This is manifest in the relationship of Qin and her mother and father during one of the holiday trips home. Last Train Home is a candid, observational view of the Zhang’s as a one family out of 130 million, however it seems likely they are representative of the types of problems that other families face.

Last Train Home is a glimpse of China and the changes that are happening as this huge country industrializes and draws its workforce from a largely agrarian culture. It is also a documentary that stays close to the human side of the equation in this changing world.

J R Martin

 

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SOUTH OF THE BORDER Oliver Stone Reports. You Decide.

Tuesday, February 1st, 2011

South Of The Border, a film by Oliver Stone, is a trip by Mr. Stone to South America where he conducts conversations with the elected Presidents of several countries including, Hugo Chavez of Venezuela, Evo Morales, Bolivia, Lula da Silvo, Brazil, Cristina Kirchner and her husband Nestor Kirchner (the ex president), Argentina, Fernando Lugo, Paraguay, Rafael Correa, Ecuador. Oliver Stone and Hugo Chavez visit Cuba for a short conversation with Raul Castro. The conversations reveal a different picture of these leaders than the one portrayed in the media. The Presidents speak about their goals for their countries, the region and how they regard the United States among other topics.

In this film the President of each country talk about their national goals and growing independence from the International Monetary Fund (IMF), the United States and Europe. Lula da Silvo proudly tells Stone that Brazil paid off the IMF and that they do not owe money to any other country. The politics they adhere to are strong nationalism and left leaning policies that they believe will help the people of their countries.

Oliver Stone facilitates an opposing viewpoint to the propaganda put out by so called news outlets like Fox and other news media in the United States. In general, South Of The Border disputes the prevailing perceptions about the leaders of each South American country visited. Stone presents the notion that a new order is emerging in South America, a continent once dominated by foreign colonial powers and corporate interests. Most of the Presidents had a great deal of distain for the policies of George W. Bush during his presidency of the United States.

It’s enlightening and interesting to hear the other side of the story. There is no attempt to examine or dispute what Chavez and other leaders tell Stone in the conversations he has with each of them. Stone’s interview style is conversational and apparently sympathetic to the views of the interviewees. No strongly controversial questions are asked. There is “B” roll from US cable television painting Chavez and others as dictators and socialists. The conversations and interviews presented contradicts this footage.

The main focus of the film is Hugo Chavez of Venezuela. The film disputes the idea that Chavez is a dictator showing that he has been elected to office eleven times. Lines of Venezuelans are seen cueing up to vote. Many appear to be Chavez supporters wearing red shirts. Mr. Chavez takes Oliver Stone on a couple tours including the site of his humble beginnings, and other sites demonstrating changes he has implemented.  A notable achievement is the fact that Venezuela now produces a large of amount of its own food. Mr. Chavez also voices his opinions regarding the way he has been vilified by the media both at home and in the US. He appears to derive his support from the poor and working class citizens of the country. The leaders of the other six countries included in South Of The Border appear to respect Chavez’s ideas about South American solidarity. He appears with Oliver Stone in some of the other countries while the interviews with those Presidents are conducted.

Documentary films, like nonfiction books, have a point-of-view (POV), because human beings, who are subjective by nature, make them. A documentary should be able to pass the “actuality” test and the “objective reality” test to qualify as nonfiction reality.  Are events and interviews actual or staged?  Objective reality deals with supporting facts that are true or false. Beyond this point there is a fine line between documentary and propaganda. A gray area, that depends on who’s watching the documentary, their beliefs and reality.

To the extent that Stone’s interviews appear natural and not rehearsed South Of The Border qualifies as a political documentary. The difficulty is that there is little factual support produced for what Chavez and others claim has happened and for what they are doing now. This does not mean that what they are saying is false; it only means that you have to take their word for it. So this film is more of a series of conversations than a documentary film. In all fairness the sub title for the film says “Oliver Stone Reports. You Decide.” Still it would have been helpful to have more information to consider. There are a couple of short quotes from supporters of Chavez. Also a mysterious clip of Michael Moore lambasting Wolf Blitzer of CNN for not asking the right questions of the Bush administration and causing the US to get embroiled in Iraq.

To some, South Of The Border might be considered propaganda, however, the POV of the film is clear and the film furnishes the viewer with an alternative to the propaganda from the other side. In this respect it accomplishes a great deal, by presenting an alternative viewpoint.  With a running time of seventy-eight minutes South Of The Border could have furnished more first person viewpoints from the citizens of each of these countries or local opposition view points to those of the leaders interviewed. Doing so would have pushed the film into a holistic political documentary context.

Past US interference in the affairs of many South Of The Border countries is well documented but not always common knowledge in the United States. South Of The Border looks at some of these intrusions and the resentment felt by the people of these countries. It is educational and informative and is a non condesending view of these South American leaders and their countries.

J R Martin

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THE LAST WALTZ - THE BAND - SCORSESE

Sunday, December 12th, 2010

Asked about working on The Last Waltz, Martin Scorsese said, “it was a joy, it was celebration, it was extraordinary inspiration listening to this music.” To many there will never be another band like “THE BAND!” In 1976 Scorsese was asked to make a documentary of The Band’s last performance.

After 16 years of backing names like Bobby Dylan, and performing on their own The Band was set to do their last concert.  THE LAST WALTZ concert could have been simply an event documentary, or an archival recording of the actual concert. But once Martin Scorsese became involved it became much more.

The Last Waltz is one of the best concert or musical documentaries ever made.   It became a musical documentary when it went beyond simply recording the performance. The Last Waltz transcends the concert event category by inter-cutting interviews with the members of the band talking about their experiences and why after “sixteen years on the road,” Robbie Robertson feels “it’s an impossible way of life.” The interview segments are skillfully blended with the performance footage to give you a sense of how these musicians got to this point in their careers. In dramatic terms, it is the back-story to The Last Waltz documentary.

One of the highlights of the film are the guest appearances of a host of well know musicians and singers including Ronnie Hawkins, DR. John, Neil Young, The Staples, Neil Diamond, Joni Mitchell, Paul Butterfield, Muddy Waters, Erik Clapton, Emmylou Harris, Van Morrison, Bob Dylan, Ringo Starr and Ron Wood of the Rolling Stones. All looking thirty-four years younger then they would today!

There’s an intimate feel to the entire affair. A family of musicians and friends who have come together to celebrate Rock and Roll, their own music and this last concert of The Band. Many of these musicians worked with The Band on the road.  The Band worked with Bobby Dylan when he made the transition from folk music to rock. The camaraderie these musicians share is typified when the guest performers come on stage at the end of the show, to sing Bob Dylan’s “I shall be released” together.

Best known for Taxi Driver, at this point in his career, Scorsese had also made a couple documentary films, Street Scene in 1970 and Italian American in 1974. Scorsese decided that he wanted to shoot this concert in 35mm, “like a movie.” To move the production beyond simply recording archival footage, he brought in Art Director Boris Levin to create a set for the Winterland concert hall in San Francisco.  In order to bring Levin’s designs to life Scorsese borrowed the set from La Traviata including three large chandeliers that were hung over the stage. The entire venue became a set with lighting and a distinct look and feel.  Robbie Robertson says that when the lights came up that night there was an audible gasp from the packed hall.

The Last Waltz is beautifully lit and shot.  Credit for the lighting and cinematography goes to a large number of individuals. Director of Photography/Camera Operators included Vilmos Zsigmon, Laslo Kovacs, David Myers,  Bobby Byrne, Michale Watkins, Hiro Narita, and Camera Operators Fred Schuler, Joe Marquette, Ray J. DelaMtte and Sean Doyle. In one scene Laslo Kovacs saved the day by shooting and covering the performance of Muddy Waters while everyone else had accidentally gone on break. David Myers did handheld camera on the stage and is responsible for some great close-ups during the performances. Hiro Narita on a jib or track getting higher angles.

The subjective layer of sets and lighting adds the filmmaker’s point-of-view to documentary. It helps to interpret the event. Scorsese did not tell the performers what to play or how to work. He shot the concert as it happened. He did do elaborate preproduction planning about how he and his crew would cover the performances based on what numbers The Band said they would perform. Scorsese did a multi-column  shooting script with a storyboard and camera plot diagrams included, so that all the camera operators would know what to shoot. In addition to the concert hall venue Scorsese shot several additional numbers on a stage after the event. In these he was able to use a crane to get a different perspective and feel to the music and performers. Lighting felt as though it was done to complement the Winterland lighting.

The line between fiction and actuality is often a gray one. Scorsese’s introduction of a set and subjective lighting doesn’t add a fictional aspect to the documentary. It simply enhances environment in which the actuality of the concert occurs, helping to illuminate the subject.

The Last Waltz, directed by Martin Scorsese, is a documentary that is more than nostalgic archival concert footage and interviews. For those who lived through those years it is a journey back to a unique time. To other generations it is an entertaining musical history documentary that, as the opening graphic suggests, should be “PLAYED LOUD!”

JRMartin, Author Create Documentary Films, Videos and Multimedia

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I LIKE KILLING FLIES

Tuesday, October 12th, 2010

I LIKE KILLING FLIES

Kenny Shopsin’s Legendary Eatery

2005 – THINK FILM – 79 Minutes – Directed by Matt Mahurin

When I next get to New York City, I’m planning to visit Greenwich Village and see if perhaps I might prove “worthy” enough to eat at Shopsin’s restaurant at its new location. After watching the documentary I Like Killing Flies, directed by Matt Mahurin, I have no choice, I must go there and try one of 900, made from scratch, dishes that chef Kenny Shopskin cooks from scratch. I will definitely not go there with more than three other people.  I hope I don’t get thrown out because I’m not a regular customer.

I Like Killing Flies is an intimate, funny, cinema verite style documentary that pulls you in and makes you feel as if you were there in Shopsin’s small kitchen as he cooks one amazing concoction, after another and at the same time talks to you about his life, experience and philosophy, often in a humorous, bawdy context. Kenny Shopsin also appears to be one of those New Yorkers who believe that the “F” word has a number of grammatical uses as a verb, noun, adjective, pronoun etc. But in his case it never seems gratuitous or out of place.

The film begins with Kenny Shopsin starting his day and explaining how he has jury-rigged the kitchen over the years, so that everything is user friendly. He also talks about his ongoing battle with killing flies which he occasionally does when a fly dares to enter his kitchen space. He even has a zapper up near the ceiling to catch the “high flyers,” which he explains are similar to terrorists and hard to kill. The film covers quite a bit of kitchen wisdom from a philosophically prone Shopsin, much of which seems to make sense!

Whatever the film lacks in production value (in one scene the interviewee is holding the lavaliere mike and in another scene the filmmaker appears to be holding it out in front of the camera) it makes up in spontaneity and actuality. The editing is good and the story doesn’t lag. Editing of scenes in the kitchen while food is being prepared capture the pressure of preparing food from scratch during busy times of day. The camera work is steady even though it appears handheld.  One of the interviews with Kenny is done while he is driving in his car.

One enjoyable aspect of this documentary is watching Kenny cook up a huge number of unique dishes as he talks about his various beliefs.  Customers talk about their experiences ordering, the types of food they eat,  why they frequent Shopsins’ and why they are willing to take some abuse occasionally. Shopsin family members give their feelings about Kenny and life in the restaurant. In one part of the film some people who were turned away because they were a party of six who came into the restaurant, recount their experience of being thrown out. According to Kenny, since they did not read the sign on the door that stipulates that only up to a party of four is allowed, they will now always be a party of six and never allowed in the restaurant. Kenny’s believes that he “does more” than the customer and so they need to prove to him that they are worthy of being fed. If they don’t like his policy they can go “fuck them selves,” he says.

As the documentary proceeds we learn that Kenny will soon need to move to another location because the new landlord has raised his rent to a point that it would not be profitable to stay there. Part of the film follows Kenny, his wife and other family members hunting and ultimately finding a new location not far from the old one.

This humorous, intimate documentary explores not only the notion of a quirky restaurant owner and his philosophy of life it also takes a look at how in an urban environment this restaurant does more than just feed people. Shopsin has created an environment where people come to eat and meet the rest of the family.

I Like Killing Flies is informative, fun and well worth spending seventy-nine minutes watching, maybe more than once.

JRMartin

POINT-OF-VIEW IN NEWS AND NONFICTION/DOCUMENTARY

Saturday, August 7th, 2010

How is the news, seen in newspapers, broadcast or cable TV, different than a documentary film on the same issue, topic or event?

Shooting an event using film, video, audio or still photography is recording actuality, something actually happening over which we have no control, nor is anyone trying to control on manipulate the event. It is still a subjective perspective, since a person chooses how to shoot; what lens to use, the angle, color or black and white and so on. But basically it is the actual unedited coverage of what the person recording it chose to cover.

In a news room someone takes that footage, edits it, narrates it with scripted third party voice over to be read by an announcer on the air. The announcer adds another level of subjectivity to it with their tone of voice, inflection and personality. The actuality becomes manipulated, completely subjective, and may have an undisclosed point-of-view (POV) based on the political leaning of the broadcast or cable company. What reaches the viewer is a subjective interpretation of the event focused only on what someone wants the audience to hear and/or see.  The bias of the piece is not disclosed up front, as if what is being shown is the actuality.

Documentary productions using film, video, audio or other media are traditionally equivalent to nonfiction books that are written on any subject imaginable. Documentaries are nonfiction stories and they always have a point-of-view which is disclosed either in the title or is obvious to the viewer. Documentaries use actuality material recorded in someway to tell the story. Most documentaries use first person interviews to discuss various issues or as voice over to explain what we are seeing or hearing. Documentaries do not employ actors to “recreate” events.  Documentary filmmaker Ken Burns does use actors to read documents or narrate other actuality sources, but they are not recreating anything. He seems careful not to allow the actors to dramatize what is read.

A documentary becomes propaganda when it fails to disclose its point-of-view, or hides the real purpose of the piece. Many films pretend to be serious nonfiction documentary efforts when in fact their actual purpose is to attack or demean a person or group. These productions are obvious propaganda thinly disguised as documentary.

Many documentary filmmakers like Michael Moore are strong advocates of reform or change in social or political areas. They don’t disguise their advocacy they put it right out there where anyone can see it. Advocacy documentaries go back to films made by John Grierson in the 1920′s and on. Grierson is quoted as saying, “Art is a hammer, not a mirror.” He believed that it was his duty to bring to light social issues. If advocacy documentary filmmakers have a flaw it is not giving the viewer enough information on opposing view points or background topics. They are focused more on pointing out all the issues and problems.

JRM

DOCUMENTARY PRODUCTION CREW POSITIONS

Sunday, December 6th, 2009

DIRECTOR OF PHOTOGRAPHY/CAMERA OPERATOR

Working handheld requires a steady hand

Working handheld requires a steady hand.

The Director of Photography (DP) working on a documentary production works closely with the Director, often as collaborator, and camera operator. The DP is responsible for lighting or complementing the lighting of a given location. If the production crew includes a Gaffer the DP works with him to create either a subjective or objective lighting scheme depending on the Directors’ priorities. In a documentary situation the DP is often also the Camera Operator. The Director must convey to the DP/Camera Operator the exact type and style of coverage he requires so that the DP/Operator can anticipate what needs to be shot as events occur spontaneously.

Director Jim Martin and Director of Photography Mike Goi on location in Southeast Chicago

On Location with Director of Photography Mike Goi(right) in Southeast Chicago

A subjective lighting approach tends to give the scene being shot a look and feel that interprets the actual reality in some way.  An objective approach seeks to reinforce the natural feel of the location. For example a documentary interview conducted with an interviewee in her office might require some minimal lighting simply to insure a good exposure and give us a feel for the environment as it is. The more the scenes lighting is enhanced or re-created the more subjective it becomes.

A Camera Operator for a documentary film production is often required to handhold certain shots. This person should be adept holding the camera steady and working quickly to frame shots.

Excerpted from Create Documentary Films, Videos and Multimedia by JRMartin

Available from Amazon.com  – Create Documentary Films, Video…

How To Develop A Documentary Project

Friday, November 27th, 2009
A Good Foundation Is Required For Any Project

A Good Foundation Is Required For Any Project

Researching your idea for a documentary is an important step in developing a Concept and Treatment. (See Developing A Documentary Post)

Excerpted from Create Documentary Films, Videos and Multimedia by JRMartin

Available from Amazon.com  – Create Documentary Films, Video…

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