Conducting interviews
Recording an interview for a report or documentary film seems to be a simple task. You have to show up at the right place at the right time with a microphone and camera and start recording. In a nutshell, that's correct, but to ensure that the recording goes smoothly and that the material is later suitable for broadcast, we need to prepare properly. And it's not just about a spare battery and memory card.
In approaching the interview it's important to remember that the most important thing is the person - our interlocutor. Contrary to appearances, it's not easy to choose such a person. It's even best not to make any recordings until we understand the topic and meet all the potential characters.
The more we know about them, the easier it is to choose the most suitable ones and prepare unconventional questions. During research, we can note who would potentially be suitable for such statements. Sometimes, during the documentation process, the protagonists will recommend people with whom it would be worth talking.
The people we choose to talk to should differ from each other. The more they have opposing opinions, the better for us and the film. Some people simply won't perform well on camera because they get too nervous. They may have a rapid flow of words, speak in short sentences, or unexpectedly start to stutter. But we'll only find out by pressing the “REC” button.
Preparation
The questions we want to ask are of significant importance. Very often, the way people respond is determined by the form of the questions. Properly formulated questions can lead the interviewee to the topic, but also force them to provide the answer we desire, not entirely consistent with their feelings. On the other hand, ill-considered questions, not backed up by prior documentation, can embarrass us or, at best, provide a bland statement about nothing. Conversations require very good preparation because our questions will not be heard in the final material. Therefore, the interviewee must answer in complete sentences.
Putting together a good interview involves many skills: One must be able to converse like a talk-show host, think like a writer, understand subtext like a psychiatrist, have an ear like a musician, be able to select the best parts like a book editor, and know how to piece it together dramatically like a playwright. --Lawrence Grobel, "The Art of the Interview"
There are difficult interviewees who respond with one sentence, but sometimes there is no other choice – we need to interview them just to show their face, especially if they are authorities on the subject. Avoid closed-ended "yes" or "no" questions. Questions starting with "where", "what", "why", and "how" work much better. Anthony Q. Artis in his book reminds us: “Remember that the interviewee should paint a picture in their response, not just provide a color within the lines you have drawn.“
Basic Considerations of Shooting Interviews
1. Writing list of questions
2. Choice of location
3. Equipment prep and travel
4. Prepping subject
5. Framing and background
6. Getting coverage
7. Monitoring technical problems
8. Asking questions and responding
Source: Anthony Q. Artis, "The Shut Up and Shoot Documentary Guide. A Down & Dirty DV Production"
Questions are usually given during the conversation. This is a way to get a fresh "on the spot" response. However, if spontaneity is not your concern, you can prepare a list of topics, which will allow the interviewee to better prepare. The more they know in advance, the more confident they will feel during the recording. Try to frame the topics rather generally, because if you prepare too detailed questions, you may get rehearsed, ready-made, and artificial responses. Leading questions are good, but only at the beginning - to start the conversation and outline the theme - because they distract you from what you want to hear. Namely the opinion of the interviewee, who will tell their own story in their own words and with details.
It's good to divide questions into thematic groups. To avoid making them seem disconnected, you should ensure smooth transitions and use references to responses. Otherwise, the conversation will look like an interrogation. In practice, it works well to ask combined questions, where you actually ask two or three questions ("Where exactly did this happen and why did nobody know about it? Who else was there?"). This allows the interviewee to build a fuller response, but don't exceed three questions in one, as it might cause your guest to forget or confuse their statement. Of course, you want to have as long, coherent, and uninterrupted a response as possible for editing.
Respect the interviewee's time and aim your questions towards a specific goal. The number of questions you prepare depends only on you. There are river-like interviews, which at different intervals can last for weeks. In such a time frame, the interviewee may partially change their perceptions, remember something or want to correct something, return to certain threads.
Such long conversations allow for a deeper look and better maturing of responses, because the interviewee gains more trust in you – paradoxically, they also get to know you better. But there are also very short interviews, during which you have to work hard to gain a dense and meaningful statement in a short period of time. Often these are interviews with very busy people, whose assistants are restrictive about time. If you ask a complicated question, you might end up explaining it at the expense of the interviewee's statement. Ultimately, you never know how many questions you will be able to ask, but it's better to have a few extra than to invent banalities on the spot.
Location
Before the interview, make sure you know where it will take place. Check maps, confirm the time and address. If you are driving, allow time to find a parking spot. Even better, arrive sufficiently early to go over your list of questions and possibly supplement them. You'll be more relaxed than if you rush out of the car apologizing for being fifteen minutes late.
Initially, greet your interviewee, preferably before starting the recording. Introduce your crew and ask where you can set up the camera. If you need to move a sofa or table, ask first and explain why it will help in the conversation. It may turn out that there's background noise (which is why cafes, contrary to popular belief, are not good places for interviews), non-stop music that can't be turned off, or other acoustic disturbances. If you can't eliminate the noise source, you'll need to change the room or even the location. Try to set up equipment efficiently. If the crew is sluggish, the interviewee might get impatient. Setting up lights usually takes the most time, but the most important thing is setting up the camera and framing, as well as connecting the microphone.
The look
Your interviewee might not be dressed appropriately, as there are certain types of clothing that cameras don't like. Shirts with huge brand logos or various emblems can distract from the interviewee (and cause legal issues), and framing may not always work if the interviewee moves. Jackets or shirts with patterns can create a moiré effect on the screen, appearing as if they consist of a million ants.
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Often, a white shirt can interact poorly with the light, making the interviewee's face underlit. Too much red can lead to the fading or darkening of other colors. Hats that may obscure the eyes. Sunglasses, or even regular glasses that reflect light are also not recommended.
Sometimes a polarizing filter, lowered camera or light settings can help, but it's easiest to simply remove the problematic item. After all, even TV audiences are seated according to the color of their clothes like decorations, with some guests asked to change their attire slightly. A bit of powder on the face won't hurt either and will certainly neutralize strong light and improve the guest's appearance.
Recording
During filming, focus your attention on the interviewee. Maintain proper eye contact and ensure they feel comfortable. They should ignore the camera, lights, and crew and concentrate solely on you and the conversation. Of course, the crew might have technical issues they need to inform you about (like a passing plane or lighting adjustment), but the interviewee doesn't need to pay attention to that. If the interviewee doesn't answer the question directly, you can wait a moment or ask for clarification. Often, the added response is more interesting and is more likely used in the edited material, as it requires the interviewee to think more deeply about their arguments. Don't be afraid of longer pauses and don't rush with another question if you're not under time pressure. The interviewee might be organizing their thoughts for the next part of the response, and by rushing with another question, you might convey that you don't care about their opinion. Sometimes, small gestures like a smile, a nod, or raising your eyebrows are enough to keep the interviewee's response going. Ensure they feel at ease.
On the other hand, you cannot allow a role reversal. American journalist Ted Koppel once said, "Let the interviewee take control of the interview, and it's over for you." You must ask the questions and direct the conversation – you know what responses you need; they can only guess. If the interviewee starts straying off-topic, you must bring them back on track. If they answer in incomplete sentences, suggest how they should start their response (instead of "In Krakow," they should say "I was born in Krakow"). If they misspeak or lose their train of thought, let them start from the beginning or from any convenient point. The responses will go through editing anyway (unless it's a live broadcast, but the interviewee should be aware of that). Also, be mindful of the time they can spare for you. Less experienced interviewees may tire from looking at you in the dazzling and hot light of lamps. At the end of the interview, thank them for their time and say goodbye, making sure to leave the place undamaged if the interviewee was the host.
However, the entire conversation will be in vain if you don't ensure the interviewee signs a release form for using their likeness. This is a formal document confirming that what they said can be used in the film. The document should include: the interviewee's name, contact information, the film title, the production company name, compensation (usually none, unless they speak as an expert in their profession), fields of exploitation (film, advertisement, Internet), the interviewee's signature, your signature, and the date. The agreement is to protect your film from any claims by the interviewee and to assure the distributor or broadcaster that the film does not infringe on anyone's rights. It is even better to sign such an agreement before the interview in case the interviewee changes their mind after filming.
Editing
Interviews undergo editing to shorten the time needed for the audience to receive information. You may talk to someone for 20 minutes, an hour, or two, but only a handful of sentences from those statements will end up in the film. At the same time, you must maintain the relevance of these statements to the topic and not alter their context. Some recommend that before starting editing, you should carefully transcribe all statements, noting the time codes of the tapes where the beginning and end of each statement are found. However, the interview transcribed on paper doesn't always match the interview recorded on tape.
Certain words simply cannot be cut out, while others do not connect well; there may be recorded breaths, and some expressions cannot be split. Therefore, it is more convenient to listen to the interview, note the time code of the statement you want to use and its general theme, and then in the editing program trim the statement according to how it sounds with the edits. If you asked the same questions to different people (survey) or the responses were quite similar, you can write down their names in a table format and assign individual questions for comparison, and then evaluate those that are definitely worth including in the material.
The difficulty of conducting an interview lies mainly in thinking in three time dimensions: the past – what you just managed to record on tape and how it fits with the rest; the present – conducting the conversation and keeping up with the interviewee; the future – remembering what to ask next and what you still lack. Additionally, you must discreetly control the time. However, the more thoroughly you prepare, the greater the satisfaction will be for both your interviewee and yourself.
--Michael Talarek
PS. This is one of the chapters of my recently published book "Filmmaker's Guide" based on my own experiences in the industry. If you still have no idea what to buy as a Christmas gift, you might consider getting this title from Amazon.