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Scriptwriter on Location Part III: Interviews

© Carol Megrail

Although narration gives shape and definition to your script -- and photos, location video, or graphics add to its impact or meaning -- there are instances when only a live interview or sound bite can "bring home" your message. To that end, a scriptwriter may assume the role of reporter/director, and must learn the art of questioning most likely to achieve the desired result.

A working knowledge of the facts (your script research will have helped here), an understanding of the physical limitations of site and subject, and adequate time in the shooting day/s for takes and retakes adds to your odds of success. Background for general discussion may be found in these three articles: The Script -- The Key Element In Productions by Ron Whittaker, Ph.D.; Pay Attention Please! - Interviewing Techniques; and Sound Bites, the latter two courtesy of The Reuter Foundation.

Before taping on-camera speakers, you also must thoroughly comprehend how they and their comments will "fit" into your script. It's not enough to insert "interview here" in the audio portion. You have to know in what direction an interview must be led to make your point, how long the section can or should be (subject, pacing, and production length determine this), what type of information you can expect from a particular speaker (with what slant or bias), and how comfortable he or she is likely to be on camera. You must also decide if you want a "candid" interview in which you elicit answers through a series of questions -- or prefer memorized passages, or a pre-written answer, where the subject is directed and keyed through cue cards or a teleprompter.

Unless you are using actors or people regularly used to teleprompters, typically individuals are more stiff, not less, when required to use memorized material or cards read from a screen or a lectern. Of course, the editor will compensate for this -- and increase the visual appeal of the production -- by using cutaways or other graphic images to break up sections of "talking head." However, for better, more spontaneous results, I prefer to spend time accustoming people to the lights, setting, and logistics of the process, rather than rehearsing something that's "canned."

In this situation, your personality counts. Before you can obtain that perfect piece of live tape, your subject must at least respect, and preferably trust and/or like you. So the scriptwriter should be mentally prepared to approach each interview with the idea of conducting a pleasant conversation. One in which your role will be that of fascinated listener -- and discerning reporter.