This article, by Barry Hampe, was very informative because it explored the entire interview process from the research and homework in the planning stages, to the day of the interview and the shooting process, and finally to the editing choices that build continuity and cohesiveness. He goes beyond that, though, and discusses the ‘why,’ the motivation for the interview. This question is crucially important, because asking it can eliminate irrelevant material. I liked how Hampe pointed out the dangers of overusing interview material — the proportion of visual material of a talking head to other visual evidence is tipped heavily towards the talking heads, and important visual evidence takes a role of the cutaway. Working with this approach does not make use of the visual argument; images can play a very strong role, and ignoring them is irresponsible for the filmmaker.
Hampe also discussed the preparation for the interview, which is VERY important. The importance of doing research on the interviewee, and the situation we find the interviewee shows through in the interview — good questions will be asked and the subject will be explored in an informed way. Dumb questions will only lead to dumb answers, ‘noninformation,’ as Hampe calls it. Researching beforehand will help define the purpose of the interview, the ‘why,’ guiding the interviewing process, and thus leading to a cohesive statement at the end.
Part of the process that is also important to address is the decision for portraying the interviewee– an important concept for this class. The location you set the subject in, how they are dressed, and the lighting can all have an affect on the representation of that person, and his story. For practical purposes too, it is important that the subject be comfortable; insuring that the subject is not scared by the equipment and shooting situation will lead to a relaxed interviewee and a flow of ideas important to telling the story.
He also discusses how editing takes an important role in telling the story. Unmotivated cutaways can be distracting and unnecessary; eliminating them during the shooting process itself can help build the cohesive piece you are searching for. Spontaneity in the interview keeps an authentic atmosphere, and this can be achieved by shooting the cutaways of the interviewer afterwards. These editing decisions must be well-informed.
One final important idea Hampe conveys is that the interviewer is in control. Having the control of where the interview takes place, prepping the interviewee beforehand, and asking the right questions will create an effective interview. You want to keep the control in check as well, by not cutting off the subject! Hampe reminds us of the importance of listening (which should seem inherent in an interview). Rushing down a checklist of questions does not actually explore each issue, and the whole process might as well be null. The point of the interview is well, to get a view into the speaker’s world, to find out what he or she thinks. That part of the interview is of utmost importance, and cannot be forgotten. Hampe offers us an experienced perspective, which can be very helpful to a first-time interviewer– we just need to listen.
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