*This is an e-mail I sent to Fred Zara about six months ago. I am sharing it now, because it represents an important turning point for me on this project. It was the point when I realized that the doc needed a story.
As it turned out, the story I was trying to create back then is not the story I am editing today. Funny how certain forced ideas, re-created scenes, and all out artifice on my part were the first casualties of the editing process.
Having said that, I should also say that it is my belief that this was the right track for me to be on. Filmmakers need to always be thinking about the story they are telling.
Fred,
Hope all went well in Tampa.
I've been shooting a lot for Lear and would like to ingest the footage (maybe on the new hard-drive) at some point. Maybe I could come over some evening, for an hour or two and just ingest -- and you can pretend that I am not even there.
I had several thoughts about how this project is going, and how it might possibly come together.
Before I bring up my new thoughts, I think this might be a good place for me to tell you to stop editing -- for now -- until the new footage is at your disposal.
THE STORY:
About a week ago, I think I realized my "Getting Lear" storyline. I think all good docs should have a storyline - a journey from point A to B. For the longest time, I didn't think this doc would have one, but now I do. Well, I did have a story -- we put it on the first page of the web site -- but I didn't know how to tell that story.
I want the doc to join Stu and the gang as they plan, rehearse and eventually shoot the last scene (the "on my knees" scene). The drama will come from the fact that the production has run out of money (true) and needs Marion (95 years old!) to provide the money for the last shoot. Stu will pursue the money as the troupe moves forward with the rehearsal of the scene.
That is the story, and interspliced into this story are the stories of the individual actors.
(Interestingly, Peg is in the process of taking her 85 year old father out of a nursing home, and putting him in an assisted care facility -- a much better situation -- I REALLY want this "sub-plot" in the doc.)
Future shooting plans:
I had a flash of dread, and then resolution this week
It all started (bad) when I was shooting the group scene on Friday. It was too much of the same talky shit (about how smart and wonderful the project was).
So, I told the group (Peg, Stu, Adrian and Sarah Jane) that this was a production meeting (for fuck sake!) and as such Stu would begin the meeting by saying that the film was (only) half way shot, and a major scene needed to be re-shot, and they needed money... etc.
I wanted them to seem like a connected group -- a united front -- that were all working together on this project. I also had them discuss the title, or what "Getting Lear" meant to them.
Perhaps this scene could come early in the doc.
What I realized during this group interview session was that I was going to have to actually DIRECT the doc -- by either telling them what I needed -- or putting them in situations that would force them to REACT.
Otherwise, I'm not going to get the stuff I need to make this a narrative story. Hybrid filmmaking – we have talked about this before.
My e-mails are always way too long!
Chris
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