As a film approaches completion, it often becomes a time for the creative team to look back and reflect. It gives us time to think about each of our personal contributions to the project and how, through collaboration, they helped shape the final product. For the writer, the nature of these contributions change considerably throughout the process. From first conception, to pre-production, to post, the job of the documentary writer had remained dynamic.
The job begins in pre-production. Here, the writer is to create. It is to help the director craft a potential story out of the infinite opportunities from which the subjects and environment may provide. It is predictive, and leans heavily on plausibility. Most writers, myself included, relish in this, as it allows for them to indulge into that endless well-spring of imagination from which their love of the craft originated. It is easy work, and it is perhaps why they began writing in the first place. For the narrative writer, this is where their responsibilities begin and end. For the documentary writer however, this is not the case.
Once the film enters the editing stages, we are often brought back to help shape the story, and to structure the edit. And this is where our job becomes counter-intuitive. Instead of creating a story out of possibilities, we are asked to be destructive. We are asked to be a consultant in taking all that was captured and to help make it palatable for the audience. To help take the flattened calf and to butcher it; to make all the correct cuts, to trim the gristle, and to prepare it for a hungry consumer. This is a task that is unique to the documentary genre, and it is something that was as difficult and as rewarding as I expected.
Looking back, it was a great pleasure helping Daniel on this project and to be able to stay involved throughout its completion. This being said, the team and I are very happy with the final cut and are excited to show Dave’s story on screen.
– Eamon Hillis