This follows on from my last post detailing the first half of our 36h short documentary making challenge.
It’s Sunday morning and I’m at home, all revved up with nowt to do. I’m well aware that when it comes to editing a documentary you can’t have too many cooks. Maximum two, or you’ll spoil the broth big time, entering into a creative and cooperative nightmare. I am not one of the two, unfortunately, owing to my under-developed editing skills (apparently iMovie don’t cut it), and being slow off the mark to proffer my abode as the edit studio.
My mistake, as I’m finding it difficult to be out of control. I am ITCHING to tell the story – to stitch together the narrative, to create something worthy of the planning and filming work we’ve put in – and of the subject – our night time food delivery king. Not having assigned clear roles at the outset or made any one person director means that the final choices come down to the editors. From my end, at least, our ‘egalitarian easy-going set-up’ could prove flawed now we’re at this point.
At 5pm, team non-edit (friend and I) are at his waiting to receive the first cut to then record some appropriate voice-over. I am nervous and excited to see it. When we watch it through, I am… confused and disappointed… Instantly I start pouring questions out to my friend which he can in no way answer: Where was the footage from this cam, that cam? Where were these bits from the interview? The story isn’t the one I thought we were telling. Plus, it doesn’t actually look like a documentary yet.
We watch again and I’m making notes all the while my non-edit partner, a videographer by profession, and well-accustomed to this stage of the process, remains calm. They have just spent an entire day getting to this point, he reminds me, and they’ve made certain calls – and edits – for a reason. But, but, I think…
I quickly calm down, and strike through my ‘feedback’ notes. None of this is mine, despite my claim to ownership as initial idea generator. It’s a collaborative learning process above all, and I have to put my creative and competitive feelings aside. As such, friend and I just get on with our end of it: we record an intro and an outro and send it over to the edit team. We then hop on a train to east London as we’d agreed to join forces for the final touches.
It’s 8pm. We’re in a plush modern flat turned temporary edit studio in Dalston. There are beautiful views, of which our teammate who rents the place made a lovely time-lapse – it makes it into the credit shot of our film.
We sit down to watch the updated edit that the last three hours of hard work by these guys has produced… and it is SO much better than the 5 o’clock version! There is a whole variety of shots and footage included now; in a restaurant, Soho at night, weaving shots from the bike through traffic, food close-ups, a title – London’s Night Rider. Of course it was never going to be just the interview – how stupid of me to have worried that might be the case! The cut of the interview and order of narrative are still not how I thought it would be, but, overall, the doc looks good.
We watch it over a couple of times, make suggestions for final editing, and put together the credits. It’s after nine when we finally press submit to upload the film to the London Documentary Network competition site. High fives all round. Despite our potentially chaotic all in and all hands on approach, and my disappointment at not being part of the edit, it was quite a dream team to work with, and a very enjoyable weekend. I’m proud of what we’ve achieved, and appreciate all the hard work of my comrades.
Nevertheless, I’ve taken a copy of all the footage in order to create my own version. It’s amazing how you can tell so many stories with the same footage – it really is all in the edit.
This whole process served up lessons and reminders from start to finish. One, of course, is how people interpret things in very different ways – just looking at the same thing for sure doesn’t mean we’re seeing the same thing. In filming particularly, I learned that it’s best to designate ONE director, and to be that director if you have a strong vision of the story you wish to tell. Otherwise play your part and then let it go. As I’m not sure how well I can handle the latter on an idea I’m passionate about, then the other lesson is to up those editing skills – a surefire way of having a say!
Better get on it, then, the next competition‘s only a few weeks away!