Documentary Technique in Drama

I have always loved the aesthetics of documentary and cinema verite. As a crew member there are big challenges  working within  the framework of a documentary  style shoot.  I  had the pleasure to work as  On-Set Dresser on the Christopher Guest feature “Best In Show”.  There was basically no script and the actors essentially worked without marks- improvising  scenarios. In these situations the crew also is required to improvise. Lighting needs to extend to places the camera “might” go. Props  become anything an  actor spontaneously  picks up. Sound had better be prepared to deal with unchoreographed yells and the focus puller should be ready  to run an obsticle course.  In her article Using Documentary Techniques to Craft Stories Dutchess Community College Film Prod Dana Dorrity looks at the influence of documentary style in drama.

United 93 -Directed by Paul Greengrass

Film School Confidential

Although some film schools are evolving and teaching students about the realities  of the business and “below the line” work, many  lack the basics of presenting what really is out there…

In her well researched (and revised) book  Film School Confidential- The Insider’s Guide to Film Schools co-author  writer/filmmaker/teacher Karin Kelly along with acknowledging the evolution of film schools in the digital age,

One striking change that we noticed while researching this second edition is how happy students are with their film school experiences. Ten years ago students we interviewed complained about everything; they hated their teachers, they never got enough time with the equipment, the equipment was old and constantly broke down, also acknowledges the pitfalls of the film school experience,

Forgive us if we impart a dismal truth right up-front. While everyone who goes to film school hopes to direct feature films, the odds of any one student coming straight out of film school and getting financial backing to direct a feature are very small…..

Film schools often do not have the best interests of their students in mind. Unlike almost every other kind of school, they provide little career guidance, few easy ways to find jobs or make contacts, and little or no help once diplomas are handed out. Film schools charge the same tuition as law or medical schools, yet offer little hope of the gainful employment after graduation that degrees from those other schools afford. They will offer you some classes, which may or may not teach you to make films, and they will give you access to some equipment with which to make some films. More importantly they will give you the opportunity to form lasting collaborations with other aspiring filmmakers. This is the most you can expect from a film school.

Orson Wells on The Crew

Often in The Crew, technicians comment that being on a film crew is like being in the military.   One of our greatest filmmakers explains that  perspective…

A writer needs a pen, an artist needs a brush, but a filmmaker needs an army.

-Orson Welles

Lynn Redgrave

In the early  1980′s, while a film student at Los Angeles City College, I had the privilege to work on a play produced by Lynn Redgrave (who also played the main character), called “Thursday’s Girls”.  My friend Laura Davis stage managed and I set dressed and operated the sound board. I didn’t get to know Ms. Redgrave well but do remember her as brilliant performer, a quick witted, warm,  humorous woman and a consummate professional. My job was  easy but at times I felt for Laura. A previous production manager had not worked out and I thought the weight of the Redgrave legacy was on Laura’s  shoulders but Laura rose to the occasion and all went well.

In The Crew, many of  techies speak of the importance of working in theater – that theater  is the underlying language of cinematic form, not just dramatically but technically-  a place to learn fundamentals like lighting, sound, production design, effects and make up. A place where it has to be real and work …because there is no fix in the editing room.  I always thought that it was  unfortunate  that the film department at LACC existed  without ties to the theater department. My understanding is that this chasm  exists at most film schools across the country. In my training, I certainly could have used more theater experience.  A couple weeks ago when I heard of Lynn Redgrave’s passing I realized that I at least had the chance to work with the best.

She will be missed.

The Crew Costume Department

Check out the world of, ” Clothing actors in a manner, befitting their character..” in our  Costume Segment

Allisa Swanson-Costume Designer

The Crew’s Objectives

The Crew’s objectives are very simple. I wanted to catch film technicians in action and have them explain to the audience what it is that they do: What is the function of their department? What is the hierarchy of the department? What skills are necessary to perform their job? What are the personal impacts of working as a professional motion picture technician? And the ever-popular question, how can I get a foot in the door?

In making The Crew, I feel I accomplished a dual purpose, which was to impart the secret knowledge of the closed world of a film set and to give the people behind the scenes – motion picture technicians – the chance to tell their stories.

Michael Rouse, Producer