This six month program is both a theoretical and hands-on exploration of the creation of documentary films. The basic ideology of the course - and the driving force behind its pedagogy - is that good documentary films are made with great intention, vision and foresight. Good documentary films are made by filmmakers with a very clear vision of what story they are pursuing, Filmmakers must have a very strong sense of how to achieve their goals with the palette of visual modes available to them. And they need to hold, in the highest regard, the documentarian's ethical responsibility to find the truth in all subject matter. In other words, documentary film is not created by taking out a camera, shooting things that are "real" and then hoping, once you arrive in the editing room, that a compelling story evolves.
It is from this basic premise that the Institute has developed into one of the leading programs in the nation devoted to the production and teaching about non-fiction films.
This is a rigorous course. We make no pretense in being able to cover everything offered by a two-year film school. But we do cover an extensive array of material - both conceptual and practical -- within the six months of the program.
There are elements of filmmaking that we will only touch upon briefly, for instance, the business side of producing: marketing, budgeting, rights negotiation, and distribution. Instead, our primary focus will be on the art and craft of creating documentary films.
First and foremost, we require our students to think intelligently about film; to see many films, deconstruct those films, understand the critical elements of making films in various genres. As such, our students do not pick up a camera and learn editing right away. Instead, we seek to bring the 15 or so participants to a common vocabulary and understanding of documentary filmmaking prior to learning the more rudimentary lessons of how to operate the tools to make such films.
Once technical
training workshops have begun in April and through the two months of production
for the student-produced film, there is ample time for each student to
acquaint his or herself with the fundamentals of cinematography, lighting,
sound and editing.
Above all, it is expected that our students come to us with a commitment
that is singular for this six month period. This is certainly one of those
programs where that trite saying: "you get out of it, what you put
into It "is supremely true. We seek to have our students take responsibility
for their own progress and for the progress of those around them.
What follows here is a basic course outline. The syllabus for this program changes annually in response to comments by our participants and by the shifts within the documentary field itself. But the structure of the course, however, remains consistent from year to year.
Week One
Introduction to the Institute and to documentary genres
Week Two
Visual Theory
Week Three
Film Conceptualization and Pre-production. The History of Documentary Film.
Week Four
The Theory and Practice of Cinematography and Editing
Week Five
Documentary Screenwriting
Week Six
Visual Story Workshop and Storyboarding Seminars
Week Seven - Week Ten
Workshop training in Lighting, Camera, Sound and Editing.
Week Eleven - Week Thirteen
Team editing assignments
Week Fourteen
Topic Selection for Group Film
Week Fifteen
Pitch Session for Group Film and initial pre-production
Week Sixteen - Week Twenty-Four
Final Film production -> post-production
FILM
PRODUCTION
Interspersed
within this basic outline are film discussions, screenings, team building
exercises, and individual presentations to the group.
WRITTEN ASSIGNEMENTS
There
are also several written assignments due within the first four months
of the Institute which help students explore the fundamentals of documentary
filmmaking as building blocksto actual production.
PRODUCTION
The
most frequently asked questions about the production of the Institute's
documentary film project are, "How do 15 people decide on one topic"
and "What role will I get to play in production?"
First,
the method of selection is the following: on the first day of pre-production
(beginning of May) each student is required to come to class with three
well-researched film topics. The group discusses these options, sometimes
grouping ideas together, sometimes voting an idea up or down.
At the end of topic selection period, three ideas will remain. The group
then splits into three pitch teams to further research each idea and then
the following week presents a more realized treatment to the Institutes'
instructors. During this pitch session, the strengths and weaknesses of
the ideas are explored and a consensus is reached on the direction the
group will take.
Similarly, at the end of the technical training period, students rank their three top choices for production roles. The roles are as follows: producers, writers, director of research, cinematographer, editor, and field sound/sound design and mix. After the long period of exploration in the theory and practice of filmmaking, most students will know where their interests and talents lie, and we are nearly always able to accommodate the first or second role request of each individual.
INSTITUTE SUPPORT
"The
Institute for Documentary Filmmaking Users' Guide" is the "bible"
for the program. It outlines all of the expectations for the program,
details all of the assignments and provides useful information about the
theory and practice of documentary filmmaking. Students are issued their
"Users' Guide" on the first night of the program and are encouraged
to refer to it repeatedly throughout the program.
Further, the staff of the Institute is always available to assist all Institute participants. Because the program is intense and stresses can sometimes build, we encourage all participants to take advantage of the open-door policy of the program's administration and its instructors. But we place on the student, the responsibility for walking through that door to resolve questions and issues as they arise.
