Movie reviews

SCRIPT FIESTA 2022

WORKSHOP 'PISZ PRAWDE: SCENARIUSZ DOKUMENTU' (WORKSHOP 'WRITE THE TRUTH: DOCUMENTARY SCRIPT')

Barbara Pawłowska (barbarapawlowksa@szkolafilmowa.pl) conducted the workshop mostly promoting boring family dramas or biopics of obscure people because they were cheap and told a story, my BBC-style idea to her wasn't even a film. What does she advise budding documentary writers? See previous films of the cameraperson, sound engineer, editing people. It's best when the protagonist wants an insight. Check which will work better: a microport under clothing or a stick. Come up to someone with the camera, don't Zoom. Mind that the editor wasn't on set. Editing: spread flashcards on the floor - you can take pictures. Money can't motivate protagonists, that's why nothing is paid or nominal gifts are handed in. Experts are paid. A documentary has a much lower budget than an actors' movie. No stopping shooting ("Switch off the camera" - the cameraperson pretends to turn it off). Everyone must understand - show to e.g. a cleaning lady. When applying to TV channels, the Polish Film Institute or foundations - with a max 3-minute trailer, there must be some. Prepare a script for the Polish Film Institute, not real. Write the plan of work: the scenes. The beginning is the exposition. In a feature film you need surprises, not in a documentary, the viewer must know everything, has to know from the start what it's about, what to watch for. We must know 100% about the protagonist, more than him/herself, but show only 20% in the film. We know who will call the person when. Is it doable without interviews to the camera? What do we aim for should be the finale, we wait for it. Hitchcock: "In feature films the director is God; in documentary films God is the director." The interlocutor can't speak to the side or be a voice off, must speak to us. The trailer must be lucid. The protagonist can always withdraw their permission. After all consents have been obtained and with the material ready someone can ring TV: "Don't show it" - a protagonist can always revoke the consent. Animation is expensive. So is travel, even in Poland. She recommends two documentaries: "15 stron świata" ("15 Corners of the World") on Ninateka is a 1.5 hour documentary on sound, Oscar-nominated "Dzieci z Leningradzkiego" ("The Children of Leningradsky") is on YouTube. She also praised the below one:

WIEZI (CLOSE TIES)

Watchable. This short-length documentary is short, pleasant, with long, steady shots. You don't really feel it was filmed over a number of days. On the other hand, it's trite and doesn't evoke any emotions. I'm surprised it was even shortlisted for an Oscar.

GREEN FILMING

Firstly, you need to check out the Fred Albert Carbon Calculator and Production Certification website - the BBC only buy content which is green. The UK apply the green rules horizontally. The PEACH calculator contains detailed guidelines. Even cigarette butts are recycled. Poland is 10 years backwards. Film dla klimatu holds Zoom discussions once a month. The pdf of the industry guide with tips premiered in April. It's psychologically proven that when a man is approached with something new there's natural resistance. So it's important to inform everyone before. Waste segregation should be put into contracts. Tap water, people's own bottles - this often fails. No disposables. Meat-free catering. Group transport is advised. In scripts: the locations should be close to each other and to the production base or in one studio. Write for a specific location. If international for a specific co-production so that part must be in the country, use their staff and equipment. Do we need effects, e.g. explosions, extras? As for the script format, limit white places, avoid printing. Planet placement is recommended so that the content promotes pro-environmental behaviours, no impact on the story but subliminally it conveys the message. E.g. one Baffa's serial reduced drinking and driving. Protagonists segregate, save water etc.