Why Not A Documentary? Part 1
February 25, 2008 by pablo
In a recent guest lecture I gave at USC, I was asked by a student whether or not Libertad was a documentary, and if it wasn’t, why not? Interestingly, a lot of people thought Runnin’ At Midnite was going to be a documentary. I understand why, too - I’m covering social issues in my films; the people and neighborhoods I work in are real; and they are usually based on real circumstances or events. All true, and most of those elements are usually found in documentaries and not feature narratives.
Well, there are several reasons why I chose to make narrative features, but the biggest reason is, I have no interest to hold a camera while people are in need right in front of me. Not when I can help. Now, don’t get my wrong. Documentaries have there place, and the filmmakers who make them are among the best around. Kudos to them. But for me personally, I would rather engage the subject matter and the individuals involved in the creation; I’d much rather share the filmmaking experience with the people I’m making the film with - have them help in the production, act in it, give me feedback, dictate parts of the script - give them a voice!
And, ultimately, the documetaries we see are the filmmakers voice, just like narratives are. Most films are really “made” in the editing anyhow. The choices made during that process really dictates how the audience will receive those portrayed, no different than a narrative in some senses.
So, for me, I find much more empowering to research a topic or theme, create a script that encompasses elements from that research, then engage the community it it’s development, while helping educate the youth of that community about film and filmmaking.
I could have done a documentary about midnight basketball and called it “Runnin’ At Midnite”, rather than me writing it. Would I have been able to reach thousands of kids from local area high schools if I had done it that way? Maybe, maybe not. With features, the topics and emotions and situations are known ahead of time - and hopefully are skillfully written enough to engage audiences after the see the film; to spark dialogue and create thought and perhaps, if all goes well ,some type of action.
Now, take one of my favorite documentaries, Children of The Underground. It’s an astounding look at a group of Romanian Children who live in an urban Subway. This film is emotional, gripping and altogether heartbreaking. The filmmakers caught glimpses of these children’s lives that seem so private, and so intense, I still marvel when I watch the film at their skill as documentarians.
What I also marvel at, though, is how they were able to sit and film these kids while certain things were going on. Some clips are below, so you can see what I’m referring to. While you are watching the clips, ask yourself if you could have stood there and kept the camera rolling while these kids were suffering right in front of you?
Yes, the film spread the word of these kids, and that has value and merit. But on a personal level, I don’t think I have the restraint. So my solution is to absorb as much info. as I can about my subjects, then go to them, to their neighborhoods, and say “this is what I wrote - what do you think? What would you change? And while you’re at it, wanna make the film with me?”
With Libertad, it’s a formula that I think will really succeed. As we are dealing with homeless children, the impact of a film crew teaching these kids what we do beforehand - showing them that they, too, can make films - and having them document their own lives along with the process of making Libertad with us - has the power to transform lives and really create real change.
Some will agree with me, some won’t, and that is great. that is what Project Libetad is all about - engaging issues as they relate to art, youth and social change. And my intentions aren’t blurry: I want to go in there and give those kids an opportunity; many documentary filmmakers go into a situation, document what is going on, then the “real story” becomes their struggle between staying true to the documentary genre and being an observer, and stepping in and helping them. The film becomes about them (aka Born Into Brothels). While it’s great, the end result, from my vantage point, I’d rather go in saying to myself and those around me, “I am going to do my best to create opportunities for those that want them”. There is no conflict, i.e. Stevie by Steve James, where once again the documentary filmmaker becomes part of the story.
Check out Children of the Underground. It will really amaze you, as it did me. But when you watch LIbertad, remember that it will not be a film my “me”, or by me and my crew, but it will be a community film that, at it’s core, will have a voice.
From Video Spider website:
The film also raises an interesting question for documentarians: at what point is the crew of such a film required to interfere on behalf of its subjects’ wellbeing? This film in particular raises the question in a unique way, because to answer this question one must weigh the present suffering of the subjects with the potential future good caused by the heightened level of awareness the film spreads.
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