I picked up a book at the library recently, titled "Seeing Is Believing: Observations on the Mysteries of Photography" by Academy Award winning documentary filmmaker Errol Morris. I haven't finished yet, but so far I'd say it's an instant classic.
When is a photograph "real" and when is it "staged." When is a documentary "real" and when is it "staged." Errol Morris tackles this question both as a philosopher and as a boots-on-the-ground investigative journalist.
The book is very relevant to my editing of SOURLANDS, because editing is by its very definition the editing of reality. What scenes will stay and what scenes will go? What parts of reality will I choose to include in the film, and how will I frame them?
Editing on SOURLANDS continues. I'm still not sure if I'll make my first film festival deadline of January 6, but I'm certainly going to try. Being one's own editor is a challenge in that it requires, as Stephen King would say, "killing your babies." It's a challenge for anyone to take an objective look at one's own work. But fortunately, I have some very honest first watchers to give me the straight dope on what's working and what's not. After shooting the documentary and putting together the first draft, the work is now becoming much more social. I'm starting to show bits and pieces, and then the whole rough cut, to others, and receiving feedback. I think the early take on the first cut is that I have three strong stories, one about forest ecology, one about sustainable agriculture, and one about renewable energy. What the rough cut needs is stronger connections to be tied between all three stories. I think I can do it, and that's precisely what I'm working on now.
When is a photograph "real" and when is it "staged." When is a documentary "real" and when is it "staged." Errol Morris tackles this question both as a philosopher and as a boots-on-the-ground investigative journalist.
The book is very relevant to my editing of SOURLANDS, because editing is by its very definition the editing of reality. What scenes will stay and what scenes will go? What parts of reality will I choose to include in the film, and how will I frame them?
Editing on SOURLANDS continues. I'm still not sure if I'll make my first film festival deadline of January 6, but I'm certainly going to try. Being one's own editor is a challenge in that it requires, as Stephen King would say, "killing your babies." It's a challenge for anyone to take an objective look at one's own work. But fortunately, I have some very honest first watchers to give me the straight dope on what's working and what's not. After shooting the documentary and putting together the first draft, the work is now becoming much more social. I'm starting to show bits and pieces, and then the whole rough cut, to others, and receiving feedback. I think the early take on the first cut is that I have three strong stories, one about forest ecology, one about sustainable agriculture, and one about renewable energy. What the rough cut needs is stronger connections to be tied between all three stories. I think I can do it, and that's precisely what I'm working on now.
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