Preparing the ground
2.9 The camera as an intruder
Jean-Xavier Lestrade, who won the Academy Award in 2002 for best documentary with Murder on a Sunday Morning (2001) says that, putting the
filmmaker’s approach aside, it is unlikely a documentary subject will ever completely forget the presence of the camera and the sound boom. How much this affects the truth of the situation we are filming is a matter of conjecture (Lestrade, 2009).
I would agree that if a film subject who is not accustomed to being on-camera is confronted by a camera operator, his assistant, and a sound assistant with a boom pole, and possibly an additional production assistant, it is more than likely to be a disconcerting experience. As an example, during the filming of The Musicians, I engaged another cameraman to assist with filming a rehearsal of Beethoven’s
Symphony No. 9. While I was concentrating on panning from soloist to soloist using a
long lens, the other cameraman suddenly appeared in my viewfinder literally within two meters of the baritone’s face, getting that ‘reality in-your-face close-up’ that could have been equally as well achieved from ten meters back with the same zoom lens. That lack of awareness of protocol and respect for the artist evoked strong criticism from the soloists and very nearly had me evicted from the concert hall permanently. The fault was mine for assuming too much of the other cameraman’s filming approach, and it reminded me to maintain a 360-degree awareness during all location shooting. One of the principal reasons why I usually work completely alone
under these circumstances is to minimise this kind of ‘impact of the filmmaker’, whether working with an individual artist or a full orchestra.
As a matter of course, my filming equipment is set up as far away from the subjects a possible, and well before any rehearsal or performance activity commences. If the filmmaker and camera equipment are in their place in advance of the activity toi be recorded, it is more likely that the filming process will be regarded as part of the background. In the course of any long-term shooting, such as that for The Musicians, I will always ask any of musicians being filmed, and who look even slightly nervous of the camera, if being filmed disturbs them in any way. The responses invariably indicate that both the cameras and the camera operator are ultimately forgotten or ignored as other, more important issues, such as following a complex music score, or concentrating on playing, take precedence in the subject’s attention. The notable exception to my rule of keeping my distance when filming is when recording interviews. Seated facing the subject, I usually have one side camera set up some three meters away, and the main camera behind me, shooting over my shoulder with only the lens visible to the subject. In addition, as much as possible I conduct
interviews later in a production when I feel that the subjects are familiar with both my presence and the purpose of the film. An interview then becomes merely another conversation.
Attention to details such as subject awareness is, or at least should be, integral to a filmmaker’s approach and technique. This particular aspect of production has been positively influenced in recent years by the development of less conspicuous solid-state technology.
Summary of Part 2
Film production is usually regarded as a collective art form partly because of the craft complexity involved in directing, lighting, sound recording , cinematography and editing. As a consequence, there are very few truly solo in the industry as a whole. However, the advent of digital technology has created far more user-friendly environments in which independence can flourish. As an independent filmmaker, the
lower cost and greater ease of use of filming and editing equipment has encouraged me to undertake equipment and data intense projects such as The Musicians. ‘Going digital’ has also enabled me to develop a more individual production style, which is becoming increasingly necessary to stand out in an expanding crowd. Because so many more people are now undertaking production without necessarily having a formal background in filmmaking, film practice is also becoming more individual and less prescribed. There appears to be less of a tendency for current to emulate the methodology of others.
The idea of promoting individuality in creative output is not new. The creative style of artists such a Leonardo da Vinci and Michelangelo Buonarroti was their meal ticket. Even in their time, the quality and saleability of an artist’s work were both crucial to survival. In the same way, artists and of today tend to rise and fall on their capacity to constantly adjust and re-adjust to a changing market. They must also contend with commercial competition that has arisen principally through the user- friendly nature of digital cameras, coupled with the changing demands of buyers. If a particular client wants drone shots in his commercial and you do not happen to have a drone, the job goes to someone who does. Regardless of the huge number of around, and the amount of literature available on how to make films, independent strategies appear to be proliferating and succeeding. However, while maintaining their
independence, also need to be aware of their own impact, and the impact of the subjects they choose to cover, in determining their own path. A more liberal way of thinking about films also gives some greater freedom to take risks in production. The
Musicians provides an example of one filmmaker following his own choice of
material and approach. This dissertation now considers the specifics of the production of the documentary element of this research project.