As a documentarian I happily place my fate and faith in reality. It is my caretaker, the provider of subjects, themes, experiences—all endowed with the power of truth and the romance of discovery. And the closer I adhere to reality the more honest and authentic my tales. After all, knowledge of the real world is exactly what we need to better understand and therefore possibly to love one another. It’s my way of making the world a better place.
Distance oneself from a point of view.
Love your subjects.
Film events, scenes, sequences; avoid interviews, narration, host.
Work with the best talent.
Make it experiential, film experience directly, unstaged, uncontrolled.
There is a connection between reality and truth. Remain faithful to both
SOME DO’S AND DON'TS
Hold it steady.
Use manual zoom, not the electronic.
Read as much of the PD 170 manual as you can.
Read book or chapter in a photography book on how to compose shots.
Use the steady device that’s in the camera.
Never use a tripod (exception: filming photographs, for example).
You’ll get a steadier picture the more wide-angle the shot. In a walking shot go very wide angle.
Hold the beginning and end of each shot. The editor will need that.
Use no lights. The available light is more authentic.
Learn the technique but equally important keep your eye open to watch the significant moment. Orson Welles: “The cameraman’s camera should have behind its lens the eye of a poet.”
Remember, as a documentarian you are an observer, an author but not a director, a discoverer, not a controller.
Don’t worry that your presence with the camera will change things. Not if you’re confident you belong there and understand that in your favor is that of the two instincts, to disclose or to keep a secret, the stronger is to disclose.
It’s not “fly-on-the-wall”. That would be mindless. You need to establish rapport even without saying so but through eye contact and empathy.