Documentary - Evaluation "Are we Numb"

Roles in the production

Under the development and work for this unit I've been in a group consisting of Gavin, George W. and Simon. As the project has been on going we have all participated in different areas. All of us did research, putting together a watching list so we would all have the same documentaries and films to refer to, searching for people to interview etc, but after the research for the project we took on different roles in the production. George W. and Simon took the camera, Gavin did sound and I directed. 

Casting and Berlin

We split the casting between all four of us so we'd be more effective. We ended up using Kamran Vahabi as our presenter, which Gavin got through Casting Call Pro, 3 Holocaust survivors: Zigi, Miriam and Sam which George found through Jewish Care Centre and David Glenwright (social media expert), Christoph Kreutzmüller (holocaust expert) and Shahak Shapira (creator of "Yolocaust") found by myself.

I also fixed the logistics around our stay in Berlin since I was the one that had been traveling the most in our group. I managed to find return tickets with plane from London to Berlin for 30£ each, free hotel for 5 days and got a discount on car rental for the project. 

Our story

We ended up choosing my idea which was originally about "Yolocaust", but developed it together and changed it to being about our generation's opinion of the Holocaust it and the selfie culture. We wanted to find out if the ever growing selfie culture has made our generation loose touch with the Holocaust and similar events and that we've now become numb to it or not. 

Aim

The aim for this unit was to research, develop, prepare, film and edit our own documentary which followed the brief given to us: “A 10 min doc, theme - Teen Spirit, airing on BBC 3”. What was important to us with the documentary was to make something that clearly followed the genre, showing real people (both experts and everyday people), using both still and moving images, V.O and PTC and showing interesting context. 

My experiences and conclusion

I found this unit very interesting, but more challenging than I first expected it to be. I think that the main reason for this was the fact that we were working in a group. In the beginning I thought working in a group would make it less work than the other units where we were working alone, but I found myself wrong. We were good when it came to spitting up the work, but since I don’t have a job while studying and had a lot of free time both before and after the production I ended up doing most of the paper work and organisation for us to go to Berlin. I also did some of the edit since George had 1 week with work experience when we got back from filming and Gavin had days where he had to go to work. Another reason why this was more stressful than the other units was the fact that we wen’t abroad to Berlin to film half of the doc. Even though it was fun to go abroad the paper work that we had to go through was massive. 

We definitely spent the most days planning the documentary, but also a fairly amount on filming since the filming took us 9-10 days. It’s the most relaxed shoot that I’ve had so far since we all ad a good idea of what we were doing since we had been testing all of our ideas before we started filming, and instead of having few but extremely long filming days we had more, but shorter days. Although some were long because of traveling to and from location, e.g the day we were filming in Birmingham and had to leave 5 am. The most stressful part of this project has been without a doubt the edit as we had very limited time and worked around the clock trying to test out all the ideas and changes that we got from the feedback sessions that we had. 

Documentaries have always been my favourite genre and it still is. I love how this unit introduced me to more and different documentaries and documentary styles. I’ve learned a lot during the unit, and even though the unit was more stressful for me than I think it needed to be I wouldn’t change much if I were offered to do it again. I would still choose to go abroad and I would most likely choose to work with the same group since we had a lot of fun together on this project. 

I’m happy with the finished project and feel that the criteria for the unit have been reached. We managed to get the people we wanted to talk to and the look we wanted. Ideally we’d be able to re record the V.O again to make it perfect, but that wasn’t possible in this case which is a pity, but we’ll learn from that next time. All in all I’m happy with the project and looking forward to edit it some more, re-record the V.O and add in more breathing space for when we’ll be sending it to film festivals. 

Documentary - Fine cut

Today we had our fine-cut deadline and our feedback from Zoe was better than I expected it to be. She gave us praise for some parts which she found good and also gave us some good feedback on what she felt that we could change. 

Feedback:

• She liked the title sequence, but want’s some of the selfies to be more horrifying. (I’ll be fixing this shortly).
• Want’s a sentence to re-establish what the doc is about after the title seq. (Here maybe we can move one of the V.O in the beginning of the doc.) 
• Have a different V.O when introducing Shahak. We have Kamran saying “project” twice in less than 10 seconds. Try to use a different word. (We’ll go through old V.O to see if we have anything where the words are different.)
• Would be great if we could have a better sign posting when being at the memorial. Although this isn’t something crucial for the doc, but more for future thoughts. (We have talked about this and concluded that we won’t be able to change it more. We’ve already made Shahak’s interview lean towards the memorial and using a PTC where Kamran says where he is. Unfortunately we won’t be able to make more signposting that that.)
• A couple more shots of the Holocaust memorial before we move to Kamran driving to visit David. This will allow the audience to breath a little more. (We’ll fix that today). 
• Would be great to have David introduced in a different way with a non sinc clip instead of a clip where we see his mouth moving, but hear something different from what he’s saying in the shot. (His mouth is out of sync). (We’ll have a look at it, but we’re unsure if we have any footage that will fit better.) 
• Shorten Davids interview. Not nessecairly have the part with cavemen. It’s long and sync heavy. Although it’s interesting. She likes the last bit where he talks about the Holocaust. Need to see what’s relevant for the doc. (We’ll have a look at it. She suggested laer to have David at the end of the Doc instead of Christoph which I agree is better. She also suggested to keep the cave men sequence if we have him at the end.)
• She like the fact that we’ve got back on the timeline during the interview with the survivors. 
• Like how the last interview (with Christoph) is shot. 

She suggested to change the timeline to have the Holocaust survivors after showing the memorial, have Christoph after the survivors, then a bit of a montage of Kamran walking around in Berlin/a clip of a survivor we haven’t used. And then have David at the end of the doc. 

So:
Shahak -> Memorial -> Survivors -> Museums guy (Christoph) -> Montage of Kamran walking around in Berlin/a shot of survivor that we haven’t used -> David -> Conclusion 

I agree with most of what Zoe said and we’ll be working on it as soon as possible. It’s nice to see that we’re finally getting near a final edit. 

Documentary - Feedback

Yesterday we showed Helen our updated rough cut to get some feedback before our fine cut deadline on Wednesday. We had changed quite a lot in the edit from what we showed Zoe, making the edit less linear in the sense that we were no longer focusing on the trip, but focusing more on the interviews, finding the most suitable place for them to be and the storytelling aspect of the doc. 

We showed it to Helen and received more critical feedback and suggestions for changes that we thought we would since we were all very pleased with the edit and thought we were nearing a final cut. 

Things that Helen said need fixing:

• More atmos in the beginning. The sound is a bit off. She also felt that the images shown in the beginning don't work to the voice over that we’re having. 
• Cut out some of the pre-title sequences. She pointed out that we have at least 3 starting points in the beginning so we need to find out which one is the best one. 
• Slow down the part at Kamran’s house. Try to have him speak more laid-back. We won’t be able to redo the V.O since Kamran is on vacation, but we can see if we can cut some of the audio up to make a bit more spacing, creating some room to breathe. 
• At the Memorial: Go straight to the PTC in the beginning. Cut the establishing shots. With the VOX pops we should start with the couple, not the Asian guy.  
• Helen also didn’t like some of the commentary and suggested us to get a voice over artist for the commentary and have our presenter only talking at the PTC’s. We’ve talked about that as a group and we all disagree as we want to keep the commentary as it is and work around it to make it work instead of getting another person to do it. 
• Work on the way we are introducing Shahak. 
• There’s some lack in signposting in the documentary which makes it easy for the audience to get confused/lost. 
• Not having an as linear structure as we’re still having. 
• Make the interviews less sync heavy. Show cuts that underline what they’re talking about. 
• Have the Museum guy coming in earlier. We’ve talked about this but can’t find a spot where he fits better/ someone else that fits to be at the end. 

Today we went back to uni to get some feedback on our new edit and our title sequence. We spoke to Sam and showed him the edit. He pointed out some technical stuff, such as some of the clips didn’t have right frame size which we hadn’t noticed. He praised us for having a strong body of work but said that the biggest downside was the dibs in audio which we already knew about and will be working on tomorrow. 

He suggested having either the VOX Pops appear more than once in the documentary or the Survivors, change the font in the title sequence and add text showing who the presenter is talking to. 

Documentary - Character profiles, interviewees

For the documentary, we ended up interviewing 11 people, 8 whom we’ve decided to use in the final edit. 

Using for the final edit

Main interviews

Shahak Shapira is an Artist and best known for his ‘Yolocaust’ project where he photoshopped inappropriate selfies taken at the Holocaust Memorial in Berlin into archive photos from different camps during the second world war to show people what they were actually taking pictures of. The project went viral and was seen by 100 million people. We interviewed him about the project and the motivation behind it. 

Christoph Kreutzmüller is the curator for the permanent exhibition at the Judische Museum in Berlin. He’s well known for his knowledge both on Holocaust and Nazi-time. 

Our aim with his interview was to find out more about what Germans thinks about selfies taken at places such as the memorial, concentration camps etc and what could be done to prevent people from taking these selfies. 

David Glenwright is a social media expert, working as the Head of Training at JC Social Media, and has a background in War Studies. He was selected this year by Facebook to be one of only 8 trainers in the UK to be flown to their Dublin HQ to receive specialist training under the ‘She Means Business’ campaign. David is our main expert for this documentary and we used him to get a better picture of the selfie culture and what role it has in our society. 

Zigi Shipper and Miriam Freedman are two Holocaust survivors that we got through Jewish Care Centre. Ziggi spent 5 and a half year in different concentration camps and Miriam was hiding in a basement for years trying to avoid capture. We were interviewing them to talk about their opinions of our generation and the selfies taken at places such as the Memorial. 

VOX Pops

Asian guy, polish guy, couple. We decided early that we wanted some VOX Pops for the documentary and decided to do them at the Memorial to see if we could speak with someone taking a selfie and ask why they’re taking it. We ended up talking to 5 people and decided to use these 3 for the edit because they were the ones giving the best answers. 

Not using for the edit

German couple, Hawaiian girl, Vox pops. 

We decided to keep these 2 out of the edit because when filming the German couple we had some issues with sound which we weren’t able to fix in the edit and the Hawaiian girl we had trouble understanding what she was saying.

Solomon (Sam) Freiman, main interview

Sam is another Holocaust survivor that we got together with Miriam and Ziggi, but we decided to not have him in the final edit because of limited time for the doc and lack in answers that we could use. He gave a great interview, but because Ziggi and Miriam covered more of what we were asking we decided to use them for the final cut. 

Documentary - Re-recording V.O

After listening to Zoe's feedback on the voice over on Friday we decided to go nd re-record it. I contacted Kamran to see if he was up for it, which he was. My aim was to re-record it on Tuesday next week since we then would have a much better idea of what we'd need since we'd be close to the final cut. Unfortunately, that wasn't possible since Kamran will be going abroad on a vacation for a week, not returning before the day after hand in. We therefore decided to do it today. Meeting up at Kamran's house just a couple of hours before he'd head off to the airport.

We had an updated script with the V.O needed with us together with our rough cut so it would be easier for him to see where each of the clips was going to go and how much energy he should put into the different parts. When we recorded the V.O the first time we had him sitting down reading from the script. This time we had him reading while standing up, letting him use hand gestures while speaking, which made him a lot more believable.

I'm pleased with the new V.O that we've got and hope it will do for the final edit. I know we should ideally record it on Thursday next week to have it as close to the deadline as possible, but none of us in the group were thinking of setting off a day dedicated to record the V.O when we made the schedule. I wish that someone would have mentioned to us while we're planning everything that we should set off a day to do it since none of us in the group has been doing a proper documentary before and therefore didn't think about the fact that pre-recorded V.O might not fit the finalised edit. But the good thing is that no one in our group will ever forget to dedicate a day for it next time we make a doc.

Documentary - Rough Cut

Today we showed Zoe our rough cut. We’d listened to a lot of what Helen suggested when seeing our sync assembly, having the doc less linear to make it more interesting to watch and have some of the more important characters appear more than once in the doc. We also shortened most of the interviews quite a lot, making the rough cut 15 min instead of 25. 

Zoe liked a lot of what she saw but gave us some good feedback on what she wanted us to change. She said we should make it even less linear, wanted to have sync clips in the beginning before the title sequence to tease the audience to what’s going to happen and have some of the survivors or other important characters in the film make the conclusion, not the presenter. She also wanted us to re-record Kamran’s V.O since it didn’t have much energy to it and sounded almost robotic. 

She liked the VOX Pops and how the documentary was shot, but suggested us to have the VOX Pops earlier in the doc, same with the survivors, since they’re some of the most interesting characters in the doc and will help keeping the audience’s attention. 

Documentary - Transcript

On Monday we had a transcript workshop to get a better understanding of how to edit our interviews on paper. We were given a script, transcript and a premiere file, and asked to edit the interview on the file. 

I was quite negative in the beginning to the idea of transcribing all our long interviews which were 6 in total, and an average length of 30 min, but the workshop kind of opened my eyes to how useful transcribing them could be. We decided therefore to split the transcript between me, Simon and Gavin since George wasn’t done with syncing his part of the clips yet. 

By Wednesday all the interviews were transcripted and we had sat down underlining all the parts we wanted to have in the documentary. It was really nice working with the transcript as it was a lot easier to mark the places we wanted to use and make sure that everyone in the group was on the same point in the script. 

We then showed Helen our Sync assembly which was 25 minutes long. She suggested to not focus on the travelling and have it in blocks like we had done, - going from the start in England to Berlin and then finish in England. She suggested that we should swap around on the clips showing some bits of the Holocaust memorial quite early and have the survivors later in the doc. We also obviously have to shorten the sync assembly for our rough cut. 

We also told Helen that we’re having 2 people editing the project, Gavin and George, instead of only one person. She recommended having just one person editing the whole project to avoid confusion between two editors. I agree with her in a way, but are still thinking we’re best off having 2 people editing both because we have so limited time and to be able to share the amount of work between us better instead of having one person overworking himself with the edit and have another doing nothing.  

Documentary - It's a Wrap!

So our second week of filming is over and with that we're finished with all of the scheduled filming. Our stay in Berlin went far better than I thought it would since I was scared there would be some issues with either equipment taking damage from the plane, locations suddenly dropping out etc, but everything went verry smooth. None of the equipment had taken any damage as we were sure to pad it as good as we possible could and put the most fragile equipment in our hand luggage.

The hotel we stayed at was called Hotel Big Mama, a lovely hotel in the heart of Berlin who had let us stay there for free and gave us permition to film in the lobby and dining area for the interview with Shahak and some sequences with the presenter.

Monday, after we got to the airport in Berlin, we went straight to the hotel to have a short rest and a quick look at all of the equipment to make sure everything was ok before heading to the Holocaust Memorial.

The Memorial was quite different from what I imagined it to be as it wasn't very well sign posted. The only sign that we could find only said "Memorial for the murdered Jews of Europs" - no word about the Holocaust, and was located close to the entry down to the Holocaust exhibition under the Memorial, but both the sign and the entry was very hard to find. We therefore weren't surprised to see how many people at the memorial who had no idea of what the place actually was and what it represented. Most of the people we talked to just found it as an interesting and artistic landmark. An inviting place to take interesting pictures.


Our second day in Berlin went to interviewing Shahak Shapira about the 'Yolocaust' project. Right before the interview we did a comparrison on Instagram of ina[propriate selfies taken at the memorial and at Auschwitz and the difference in numbers were huge. A lot of the interview was spent on talking about about the Holocaust Memorial. Discussing whether the ammount of ignorant people at the memorial was due to lack of signs explayning where they were.
Shahak then said something, which I think is very true and a quite important factor to the difference in amount of inapropriate selfies:

"It’s a totally different setting, you know. You don’t just stumble upon Auschwitz. In Auschwitz we can be 100% sure that everybody that goes there knows where they are. It’s not like you walk through the city like “Oh Auschwitz that look’s nice. That looks fun, let’s go in there!” No, you take a buss there, you drive there and you go in to the gass showers and stuff like that so it’s a totally different atmosphere. 

If you take a picture of yourself making yoga there or something you’re just a piece of shit. But you know you’re being a piece of shit. If you’re at the Holocaust Memorial you might not even be aware. 

That’s why I felt it was necessarily to do the project there where I can actually change people’s minds about something. Because they’re just being ignorant, they’re not being antisemitic. They’re not doing it on purpose. They just don’t know it. They don’t understand the weight of the place. If someone takes a picture in Auschwitz like that there is nothing I can do about it."


Wednesday and Thursday mainly went to logging the footage, aking sure everything was properly saved, and GV's. We went to places such as Checkpoint Charlie, Reichstag, The Berlin Wall Memorial and East Side Gallery etc to film shots and PTCs of the presenter. We also did some car sequences where we filmed the presenter driving from one location to another. 

Friday was our last day and our last interview.  We went to the Jüdisches Museum Berlin to talk to Dr. Cristoph Kreutzmüller, one of the Curators of the permanent exhibition and well known for his expertise on Holocaust and Nazi-Time. We wanted to hear what he thought about the project and the selfie culture. He had some very interesting answers and gave a great interview. 
When leaving the museum we all felt that it was the strongest interview of them all for this project (teqhnical speaking) as it was the only interview we were given 30 min to rig before meeting the interviewee and therefore had time to properly rig without neeing to stress. We all were also so used to the kit and the set up at this point so everything went pretty quick.


The filming at the airports to and from Berlin were also no problem. Over all our 2 weeks of filming has gone very well and I'm very pleased with the footage we've gotten and the interviews for this project.

Documentary - First week of shooting complete

We’ve now finished our first week of filming and have done what we’ll be filming in the UK (the intro, different travelling sequences and the interviews with the Holocaust survivors and David Glenwright). The filming has gone very well with only minor problems, delays cause of traffic, batteries dying while filming an interview etc, but we've been well prepared for all the problems we've met so far having 2 extra, fully charged batteries for each camera, extra batteries for all the lights and zoom, pluss extra memory cards in case the one's we've been using gets full. 

I'm so happy we did all the testing that we did beforehand of the shoot, both the interview set-ups with 3 cameras and the driving sequence in the car since it made us a lot more effective and prepared for the actual shoot.

Our set up with the three cameras are working well, making the filming a lot more effective since we don’t need to spend a lot of time getting extra coverage after the interview, just a couple of close ups here and the which can be done while the rest of the group is de-rigging. Although it makes the filming more effective there is a downside which is the fact that it makes it harder to light. We have therefore been using more of the lighting kit than I originally thought we would and will also be bringing an extra reflector when we're going to Germany. 

We’re now preparing for going to Berlin, leaving 3am in the morning tomorrow. We’ve finished the paperwork, (risk assessments, records on myuca, different clearances, tickets, car rental etc) and are more or less ready to go. Doing some last preparations and decisions on wthat we’re using so we which equipment to take with us since we’re quite limited when it comes to what we can take with us abroad. We’re going to take a maximum of 4 lenses with us for the 3 cameras we’re using and are also swapping some of the tripods and use lighter ones. The reflectors we're using are 5-in-1multi-disc reflectors (translucent, silver, gold, white (defuser) and black). They're small, compact and makes it easier for us to make use of all the light that we've got at the different locations where we'll be filming. When packing the sound kit we realised that the boom pole is too long to fit in the suitcase and we really need it for the VOX at the Memorial in Berlin since we can't use only clip mics there. After some thinking Gavin came up with a brilliant idea which is to use the stands for the LED lights instead. So that's what we'll do! 

Documentary - First day of shooting, 'Are we Numb?'

Today was our first day of shooting. We started at Kamran’s, our presenter, house where we filmed a short sequence and recorded most of the voice over for the documentary since this was probably one of the most quiet locations we’re going to have for a while. After that we drove in to London to film the intro for the documentary and some GV’s. 

We have 3 cameras available for when we're filming, but decided to use one when we were filming in Kamran's house since we were only filming a lot of short clips of Kamran on his computer to use in a voice over sequence in the documentary. When going to London we used 2 cameras, one focusing on Kamran and doing his PTC while the other camera was focusing on doing most of the GV's. 

The day went very well although we ended up being 30 min over the schedule. Kamran was lovely to work with and the crew were very effective. George started on Camera the first part of the day whie Simon were writing a camera logg. Later when we got to London Simon was the main camera operator while George mainly were focusing on taking GV’s.

Tomorrow we’ll be heading back to London to talk to the holocaust survivors, and on thursday we’ll have a break to logg the footage and prepare for friday when we’ll be going to Birmingham to talk to the social Media expert. I look forward to the upcoming filming days and to see the documentary slowly coming to life. 

Documentary - ready to shoot

Today we finished our script and got full green light from Helen to go filming. Helen gave us a lot of good feedback and helped making the script more personal and "snappy", and at the same time not as rushed. We dropped the plan about finding a new museum in the UK l since it will take up a lot of time both filming wise and in the edit. In the UK we'll now be filming the intro sequence with our presenter, 3 holocaust survivors, the social media expert and some bits of the travel to Berlin. In berlin we'll have VOX at the Holocaust Memorial (aproximately 5 people) and interview Shahak Shapira and the director at the Jewish Museum. 

Finished script

I’m very happy with how the script has turned out and the people we've gotten hold of for the documentary. I feel it has the potential to be an interesting documentary and that it's something I could see on BBC3. 

We also picked up all of our equipment, paid for the car we'll use in Berlin and had a meeting with our presenter, Kamran, talking about the filming we'll be doing tomorrow and planning the rest of the week. I’m looking forward to work on the project with Kamran as he seems to be a lovely guy and really interested in the project. 

The equipment we'll be using:

Documentary - Script update

Yesterday we finished a new draft of the script. I have been working on the script since our last meeting with Helen and presented it to the rest of the group by a facebook meeting. We went through the script and looked at the changes I had made. 

We listened to what Helen said in our last meeting about getting rid of some of the people since we're interviewing too many. We decided to get rid of the VOX in London since that would get rid of around 5 people. We're also in the middle of a debate whether we'll have the museum in the UK since the Imperial War Museum dropped us and we're unsure whether we should get another one this close to shooting or if we should drop it and focus more on the interviews that we already have. 

After we were done discussing the script we took a break before discussing the schedule that Gavin had made and starting to plan how to get to some of the different locations (whether we’ll rely on driving or trains) since we’ll start filming next week. 

Today we had another meeting to discuss the questions for the different interviews that Simon and George had been working on and deciding who does which part of the shotlist since we all wanted to work on it. We decided to devide it into 4 parts- Gavin doing the beginning, George and me doing the middle and Simon doing the end. 

 

Documentary - The Only Way Is Essex

'The Only Way Is Essex' (TOWIE) (ITV2, 2010-) is a constructed reality show based in Essex in England and was originally pitched as 'Big Brother without the walls'. The series was inspired by shows like 'The Hills' and 'Jersey Shore' and has proved to become hugely popular. In 2011 it won the YouTube Audience Award at the BAFTAs. Other british shows soon followed with similar consepts, such as 'Made in Chelsea', 'Geordie Shore' and 'The Valleys'.

TOWIE is a cross between documentary, soap and reality show. The people in the show are all real, but some of the stuff they do has been set up purely for the viewers entertainment. The show shows the lives of people who live in Essex and what they get up to on a daily basis. Part of the reason why the show became such a huge success is because, just like most other constructed reality show, it gives the viewer a glimpse in to a little known community that appears unfamiliar, glamorous and quite absurd to outsiders. It shows tasteless night clubs, nail bars, big hair, parties, a very self obsessed cast covered in fake tans and introducing new phrases to the English language, such as "reem" (desireable), "wel jel" (well jealous) and "sick" (good/cool).


The show follows 9 main characters, all of them are rich, having expensive life styles and works as glamour model, night club manager, fashion worker, singer etc. You see them at their home, work, with family and friends. there is no actual interviewer in the show. The questions getting asked is by the different characters in the show.

TOWIE has been criticised for its negative and stereotypical representation. The show only shows the viewers how one class of Essex people live. It shows us their personal experiences and what happens in their lives, which is real, but it's not based on real life facts.

TOWIE is both performative and observational:
- There are no interviews through the series.
- You never see any equipment, crew or director.
- There is no V.O apart from the very beginning.
- The subjects pretend that they are being filmed (performative)
- The audience is dressed in an emotional and direct way
- The subject matter is about their identity more than actual facts
- It isn't interactive because there is no interviewer

The Only Way is Essex follows peoples lives, yet you know that the characters aren't acting 100% naturally because of the cameras. Although it is classed part documentary you don't find real facts, you just find out information about the way certain people that live in a certain place.

Even though I do find TOWIE a quite watchable I would not class it as a documentary because of the lack on the factual aspect of the series.

//Images\\

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//Source material\\

https://books.google.co.uk/books?id=bHAFCwAAQBAJ&pg=PA170&lpg=PA170&dq=the+only+way+is+essex+is+it+a+documentary&source=bl&ots=F2zHyMOo5a&sig=5w7fU6Qx-y1ZmAEq0BlR50E1e-k&hl=no&sa=X&ved=0ahUKEwiXhvbpiovTAhXFJcAKHdZzCS84ChDoAQgZMAA#v=onepage&q=the%20only%20way%20is%20essex%20is%20it%20a%20documentary&f=false

https://prezi.com/itqvrfunutuj/documentary-the-only-way-is-essex/

https://www.itv.com/hub/the-only-way-is-essex/1a9310a0275

http://www.imdb.com/title/tt1737565/

Documentary - Michael Moore

Michael Francis Moore is an American documentary filmmaker and author, born in Flint, Michigan 1954. He studied journalism at the University of Michigan-Flint. He began his journalistic career writing for the school newspaper "The Michigan Times", but dropped out of college and worked a short time as the editor for "Mother Jones".

After 4 months at "Mother Jones" Moore was fired. According to Matt Labash, The Weekly Standard, it was because he refused to print an article by Paul Berman that was critical of the Sandinista human rights record in Nicaragua. Moore didn't want to run the article because he believed it to be inaccurate. "The article was flatly wrong and the worst kind of patronising bullshit. You would scarcely know from it that the U.S had been at war with Nicaragua for the last five years.  Though Moore believes the reason was because of the publisher's refusal to allow him to cover a story on the GM plant closings in his hometown of Flint, Michigan.


Moore then turned to filmmaking. His first film was "Roger & Me" (1989), a feature-length documentary about the closure of General Motors' plant in Flint, Michigan, which resulted in the loss of 30 000 jobs. The same case that he believed he was fired for at "Mother Jones". To get the budget for the documentary Moore ran bingo games in the neighbourhood. The success of the film made him one of Americas best known and most controversial documentary filmmakers.

Moore has later on produced a lot of documentary films and TV series, criticising topics such as globalisation, large corporations, assault weapon ownership, U.S. Presidents Bill Clinton, George W. Bush and Donald Trump, the Iraq War, the American health care system and capitalism. His first hit was "Bowling for Columbine" (2002) where he investigated the gun policy in America and showed the bad points of the right to bear arms. The documentary earned him an Oscar and boosted his reputation as a documentary filmmaker. In 2004 he made an ever bigger hit "Fahrenheit" 9/11 where he made fun of George W. Bush. This documentary is the highest grossing documentary of all time.

As well as making documentaries Moore has also written and starred in the TV show "TV Nation", a satirical news magazine television series, and "The Awful Truth", a satirical show. As well as the TV Shows Moore has written and co-written 8 non-fictional books, e.g "Stupid White Men" (2001) and "Dude, Where's My Country?" (2003), mostly on similar subjects to his documentaries.

Moore is well known for having the guts to give his opinion in public, and for that he's respected by many and has earned the number 1 spot on IMDB's list of The Top 10 greatest Documentary Directors of All Time. He was also named one of the world's 100 most influential people by Time magazine in 2005.

Moore both writes and directs most of his documentaries as well as taking the role of the "reporter". He's a very unlikely political figure with his glasses, cap and baggy jeans. His style seems to be hurling himself into major issues with wit and humour, hoping his energy capture public opinion. He believes strongly in the common man's stand against the State.

In his documentaries, there's a lot of handheld footage and you can sometimes see over exposed, extremely shaky images in the film. That underlines the actuality and the fact that it's not staged. That's most likely the only shot they got and therefore they're using it. I like how truthful he is in his documentaries. He asks the questions he wants to be answered no matter what they are and states his opinion, not caring what other people think. For that, I find him very inspiring both as a journalist and documentary filmmaker.

When planning our pitch for the documentary we had to decide on which style we wanted to use and how we'd like to present it. We sat down as a group and looked at BBC 3 documentaries to see what style they usually went for. We looked at different documentaries and realised that they often go for expository documentaries where the aim is to inform or to show and tell a story, often by using "voice of God" - having a narration talking over the picture. What we also saw was that they often use a presenter to go on a journey to investigate a certain topic.

We liked the idea of having a presenter to investigate whether our generation are numb or not instead of just-just having a narrator. The style we ended up wanting to go for is very Michael Moore/ Louis Theroux like in the sense that he goes right into the investigation and takes us on a journey to investigate. The presenter won't be pretending to be any expert, he'll just be going on a journey like a normal person with the knowledge that he already has, but having the guts to ask the questions that he wants to be answered and doing his research as he goes.

//Images\\

https://c5c5c5.files.wordpress.com/2011/04/f911-7-banner.jpg

http://ww1.hdnux.com/photos/10/26/02/2187432/7/1024x1024.jpg

http://media.mlive.com/flint-journal/photo/2014/09/11/-27d8ade1d4118935.JPG

http://media.salon.com/2015/12/michael_moore.jpg

//Source Material\\

http://www.imdb.com/name/nm0601619/bio?ref_=nm_ov_bio_sm

http://www.imdb.com/list/ls073721801/

https://no.wikipedia.org/wiki/Michael_Moore

https://femcampbellondocumentaries.wordpress.com/michael-moore/

https://michaelmoore.com

2nd AC on "Backbone"

A couple of weeks ago I helped out on Alexander Barkers shoot as a 2nd AC for his final project “Backbone”. I've been working as 2nd AC a couple of times before, on music videos and short films, and It's something I enjoy doing. 

The set, story and the crew were great to work with and I got some idea of both locations and crew members to contact for future projects. (I also learned that you can hire a truck for only 200£) 

On this production I was asked to write a Camera log which would make the editing easier. I had never written a camera log before so I fund it quite stressful in the beginning since I had to keep track of which lens was used for each shot, the aperture, filter, the framing and movements and of course the scene, slate and take. 

I’m happy that I’ve learned to do it since it would be really usefull to have for the edit since you mark which of the takes are good and write down why the bad takes are bad. 

It’s definitely something I’ll use in my projects later.