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Panel Wrap: Writing for Documentaries
Judging by the talented panelists, crowd of filmmakers and admirers of the craft in attendance at the panel Saturday, the state of documentary filmmaking is strong.
Although the title of the panel suggested a focus on writing, the discussion started out talking about general ideas and techniques of the craft before finally makings its way to the actual writing process. Which is not to say the panel missed its mark — filmmakers Paul Stekler (“George Wallace: Settin’ the Woods on Fire”), PJ Raval (“Trinidad”), Barry Blaustein (“Beyond the Mat”) and Henry Corra (“Same Sex America”) were all engaging, thoughtful and articulate in discussing their craft and individual films.
In discussing documentary subjects, Stekler boiled his philosophy down to a simple rule: “Find someone who wants to tell their story and are great on camera.” While Stekler said that the director is obviously important, the “most important person in the room” is the cinematographer, who can float around the the action without drawing attention to himself.
Fellow Austinite Raval touched on the importance of garnering a subject’s trust, with a sentiment shared by his fellow panelists.
“When you work in documentary filmmaking, first and foremost it is about trust,” Raval said.
With regard to the trust issue, Blaustein (a former head writer on “SNL” and the man behind several of Eddie Murphy’s screenplays) said that he spent two years without a camera in hand on the road with professional wrestling subjects gaining their trust and getting a feel for their world.
Raval said regardless of the personal and sometimes intimate nature of his subjects, that at their heart, all documentaries reveal a universality to which people can relate. And, as Blaustein said, “Everyone you meet has a story to tell.”
In terms of getting close to their subjects, Corra said, “It may sound corny or romantic .. but you really do kind of fall in love with your characters.”
It was nice to hear the filmmakers confess to wanting to make sure they did not manipulate the truth or exploit their characters.
“We can make any of you guys look any way we want,” Stekler said of the editing process. “The trick is making (subjects) look like they really are.”
While Stekler admitted that documentaries are really made in the editing room, there is writing involved. And while that writing can give you a structure going into a film, a good documentarian must be ready to go wherever the film takes him.
Best thing I can say about the panel: Following it, I now want to go watch every documentary each of these men has made.
Funny anecdote of the panel: Corra said that while making “Same Sex America,” a child started singing “Tomorrow” from “Annie” at a poignant and important moment in the film which could not be cut. The impromptu singing jag ended up costing the filmmaker $30,000. On another music-related note, apparently singing “Happy Birthday” on film will run you $2,500. So be careful out there, kids.
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