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Screenplay & Film Consulting By Susan Kouguell

Tag: Manakamana

Writing a Documentary Film With No Rules (SCRIPT MAGAZINE)

Writing a Documentary Film With No Rules

 

There is no “right or wrong” way  when it comes to writing a documentary film. Sounds easy then, right? Well–wrong! While there are no set screenwriting rules for writing a documentary script, it can still be challenging to convey a specific subject matter and its characters succinctly.

Writing a Documentary Film

This nonfiction genre can be written, using the traditional 3-Act structure, as seen in fiction films or in a nontraditional narrative format. The use of stock film footage, reenactments, “talking heads” (interviewees’ faces discussing the subject matter), voice-over narration, animation, photographs, live action, and so on, are just some examples of the tools used to convey the story when writing a documentary. Whether you choose to present your ideas objectively or subjectively, the execution and clarity of your material is important to the success of your project.

Agnes Varda Writing a Documentary

Agnes Varda

Writing a documentary can challenge traditional narrative conventions as seen in Stephanie Spray and Pacho Velez’s film Manakamana. A documentary can portray, for example, social or political issues (Louis Malle’s And the Pursuit of Happiness, God’s Country; Joe Berlinger’s Crude, and Michael Moore’s Sicko, Fahrenheit 9/11), a musical concert (Michael Wadleigh’s Woodstock), a “making of a film” (Werner Herzog’s Fitzcarraldo), or follow the lives of a person or persons over a period of time, such as Michael Apted’s series of films 28 Up (1984), or tell autobiographical stories in a unique and revealing way, such as Sarah Polley’s Stories We Tell and Agnès Varda’s The Beaches of Agnès.

“Making documentaries is a school of life,” says Varda at the 2014 Locarno Film Festival where I asked her about her process of writing a documentary. Varda describes her style as cinécriture – writing on film. “InThe Beaches of Agnès I am turning the mirror to the people who surround me. It shows how you build the life with others.”

In a documentary, characters give a face to the story you’re telling. A character can not only be human but an animal, an object, a location, or the filmmaker can choose to be a character in his or her film. The audience should feel empathy for the people you are portraying – whether it’s love or hate, viewers must feel something and care what’s going to happen to them. If the subject matter of your project does not involve people, films can show characters directly or indirectly relating to the subject matter.

There are various techniques and modes from which writers can choose to convey their story.  Whether you’re at the idea stage or have a draft of your script, keep in mind the following points:

  • What are the film’s themes?
  • What is the significant message of your story?
  • Who are the main characters and what are their goals and/or possible agendas?
  • Why is the subject matter of this documentary important to you?
  • See other documentaries that deal with your subject matter and explore what makes your project different.

Finding Your Story When Writing a Documentary

Documentary filmmakers approach their material, and find inspiration and ideas in various ways.

I asked writer, producer, director Allie Light, Academy Award-winner for Best Documentary Feature for In The Shadow Of The Stars with her partner Irving Sarafhow writer/filmmakers can make their distinct voice come through on film.

Allie Light: “Listen very carefully to what you are being told by the subject of your film. The film belongs to the person or persons whose stories you are telling. You are helping that person to make the story of her life. All you are is an experienced helper. Draw your ideas from the story you’ve been told. That means you must think ahead and craft an excellent interview. Ask your subject to describe his story, to tell you one more time how she saw what she’s described, how she or he might tell it to a blind person. When you have their stories presented in their own colorful language, you can’t help but work from within their visions.”

Agnès Varda: “Sometimes I go by myself to do location scouting. When I go by myself, something speaks to me in the place I’ve chosen and I think maybe I should take advantage of that.  We have to be working with chance. ‘Chance’ is my assistant director.”

Whether you leave some elements to chance or you stringently stick to your script when writing a documentary, indeed, there is no right or wrong way – but listening to your interviewees, those who know your subject matter, and/or just being present in the location of the filming, the opportunity for more ideas might just further enhance your story and film.

To read more:

http://www.scriptmag.com/features/writing-a-documentary-film

Susan’s Interview with Manakamana Filmmakers Stephanie Spray and Pacho Velez

Susan’s Interview with Manakamana Filmmakers Stephanie Spray and Pacho Velez at The Locarno Film Festival.

One of the films garnering a great deal of buzz at the Locarno International Film Festival is the extraordinary feature documentary Manakamana directed by American filmmakers Stephanie Spray and Pacho Velez.

http://blogs.indiewire.com/sydneylevine/susan-kouguell-interview-with-manakamana-filmmakers-stephanie-spray-and-pacho-velez-at-the-locarno-film-festival

2014 JANUARY ASK THE SCREENPLAY DOCTOR COLUMN

Ask the Screenplay Doctor: 2013 Retrospective and Questions

2013 was quite an exciting year of columns, ranging on tips about marketing a screenplay, to the pros and cons of film schools. Thank you for your enthusiastic responses to my columns.

A special thank you to all my 2013 NewEnglandFilm.com inspiring interviewees from across the country, who not only offered invaluable advice, but their honest insights into all aspects of writing, filmmaking and the film industry:

Thelma Adams: Self-described “outspoken” film critic, offered insights into the world of movies past and present, and gave us a glimpse into what critics look for in a film. http://www.newenglandfilm.com/magazine/2013/02/adams

Film Critic Thelma Adams

Ann Flournoy: Louise Log Web Series director took us on the adventurous journey of making a web series with tips on her successful crowd-sourcing with Seed&Spark. http://www.newenglandfilm.com/magazine/2013/06/flournoy

Anne Flournoy, creator of web series The Louise Log

Jon Gartenberg: President of Gartenberg Media Enterprises, talked about experimental filmmaking, distribution, and what’s happening to the field in this modern age.
http://www.newenglandfilm.com/magazine/2013/05/gartenberg

Jon Gartenberg, President of Gartenberg Media Enterprises

Jeff Greenstein: Emmy-Award sitcom television writer, director and showrunner of such shows as Will & Grace and Friends, shared tips on breaking into writing for television, sitcom trends, and more. (Since our interview, Jeff is now the director of the new CBS sitcom Mom.)
http://www.newenglandfilm.com/magazine/2013/07/Greenstein

Showrunner, producer, and writer Jeff Greenstein

Sydney Levine: President of Sydney’s Buzz pulled back the curtain on the international film industry with sage advice on getting films seen and distributed in the global market.
http://www.newenglandfilm.com/magazine/2013/12/screenplay

Sydney Levine, President of Sydney's Buzz.

Stephanie Spray and Pacho Velez: Award-winning Manakamana documentary filmmakers discussed the process of making their unforgettable feature, at our sit-down at the Locarno Film Festival, where they later took the stage as big winners.
http://www.newenglandfilm.com/magazine/2013/09/sprayvelez

Stephanie Spray and Pacho Velez, the filmmakers behind Manakamana

 

Genine Tillotson: Director of Harvard Square Script Writers talked about HSSW and the benefits of joining a writers group.
http://www.newenglandfilm.com/magazine/2013/11/harvard_square_script_wri…

Genine Tillotson, left, leading a meeting of Harvard Square Screen Writers.

JD Zeik: Screenwriter and SUNY Purchase Professor who’s worked with James Cameron, Alfonso Cuaron, and 50 Cent, and more. We talked about film school and the film business.
http://www.newenglandfilm.com/magazine/2013/01/screenplay

Professor and Screenwriter J.D. Zeik

To read more of my January column:
http://www.newenglandfilm.com/magazine/2014/01/screenplay

 

 

Susan’s NewEnglandFilm Interview with Manakamana directors

Stephanie Spray and Pacho Velez, the filmmakers behind Manakamana

During the Locarno International Film Festival in August, I interviewed Manakamana filmmakers Stephanie Spray and Pacho Velez where their film had its world premiere: at the Festival’s Concorso Cineasti del Presente (Cinema of the Present competition), which is dedicated to emerging directors from all over the world. Just days after our interview, Manakamana was awarded the Golden Leopard, the top prize in its category

To read more of my Interview from the Locarno Film Festival with Manakamana award-winning filmmakers Stephanie Spray and Pacho Velez…

Click on: http://www.newenglandfilm.com/magazine/2013/09/sprayvelez

Susan’s Interview with Manakamana Filmmakers Stephanie Spray and Pacho Velez at The Locarno Film Festival for SydneysBuzz/IndieWire

Stephanie Spray and Pacho Velez were awarded the Golden Leopard for their film MANAKAMANA in the Cinema of the Present competition at the 66th Locarno Film Festival

One of the films garnering a great deal of buzz at the Locarno International Film Festival is the extraordinary feature documentary Manakamana directed by American filmmakers Stephanie Spray and Pacho Velez.

High above the jungle in Nepal, pilgrims go on an ancient journey, travelling by cable car to reach the Manakamana temple.

The filmmakers describe the temple, the sacred place of the Hindu Goddess Bagwait:  Since the 17th century it is believed that Bhagwati grants the wishes of all those who make the pilgrimage to her shrine to worship her – some even sacrifice goats or pigeons.  For almost 400 years their only access was a three-hour uphill trek.

Challenging traditional documentary narrative conventions, Spray and Velez chose to use dialogue sparingly (the first words are spoken about thirty minutes into the film); they avoid the use of voiceover or titles to explain the history of the Manakamna temple and the Goddess Bagwait.  The characters do not look at the camera; they are not interviewed. These compelling and provocative decisions are most effective.  The images tell the story.

Watching each of the character’s journey to and from the Manakamana temple in the 5’ x 5’ cable car, it is impossible not to project a backstory onto each character (if not one’s own backstory); imagining what their lives are like, getting glimpses of who they are. Manakamana is a meditative film, and as it unfolds, it becomes more dramatic as some characters begin to speak. But they speak sparingly. Focus remains on how characters react to their surroundings in the cable car — looking out the window or avoiding it, remarking on the hills, the corn fields, the Goddess.

To read more and see a clip:

http://blogs.indiewire.com/sydneylevine/susan-kouguell-interview-with-manakamana-filmmakers-stephanie-spray-and-pacho-velez-at-the-locarno-film-festival

Stephanie Spray and Pacho Velez were awarded the Golden Leopard for their film MANAKAMANA in the Cinema of the Present competition at the 66th Locarno Film Festival

Stephanie Spray and Pacho Velez were awarded the Golden Leopard for their film MANAKAMANA in the Cinema of the Present competition at the 66th Locarno Film Festival