Paul Berczeller directed This is a True Story, which you can watch for free in the Docs History section of FourDocs
Well, pure luck. I never normally read the Daily Telegraph and then one morning, I don't know why. I think the Guardian wasn't available, I guess. And on page 3 there was a story, and as a filmmaker, I look out for stories that resonate with you. Like any filmmaker, you know if it's the story for you.
Well I've always been interested in that nexus between...it seems to me as a larger point that everyone is so media-savvy now - everyone you speak to knows how film and television work to the extent that I did this film "Paris Airport" with this guy who'd been living in the airport for 15 years. And he was completely aware – you know, "you could cut here..." and I'd ask him questions and he'd say "no no, just use that question you asked me before".
Everyone understands how it works. My feelings then are that I have to come at it more obliquely and formatted - not in the Wife Swap way. More like how do people reveal who they are. But my approach is not straight-forward...or even observational to some extent.
No, it's funny, I actually wanted to do a modern version of La Jetee. So I had the form before the story. And that was a real lesson because a good documentary is such a marriage of form and content. If I had that story...if I made reconstructions using live action, it would have been unbelievably cheesy. The power of it was taking stills, which made it very mysterious. And we didn't have the resources! Reconstructions on TV are so crappy, so I've always been interested in how you do reconstructions well. But I think on the other hand, if I'd not had that story, then the form wouldn't have worked either.
Absolutely - one of the interesting things about it, and it's something that's very hard to do now, was that I had a freedom with Jess (Search, now head of Britdoc) and Independent Film and Video. I did not know...I found out along the way that the girl in the documentary really didn't go there for the money. I found the basic seed of the film, which was about misunderstanding, first. I was always interested in what the French call "Fete Divers" - these little hazy stories where you always wonder - like the man who tied balloons to his armchair and ended up floating over LA
There are all these stories out there that we now use as entertainment, and I've always asked 'well what about the people?' - the actual impact – who are these real people? That was the polemic in effect - the way the media takes these stories and really twists them.
Yes, it was really spectacular at that point, in her department. She absolutely gave you that chance to do exactly what you wanted and totally follow your idea. And now you guys (FourDocs) are doing it. The technology has moved on so quickly - I almost feel like I'm talking about another century! So part of why she was so helpful was to have a really good editorial mind because no film is made on your own – there's always the photographer, the sound, and Jess as the commissioner. They really...and Mimi Ohmori, who was the actress. The thing about it that was so exciting was that we all knew it was special. We knew very early on that this was going to be very unusual.
Put it this way - the production company I did it with hated me because I was so determined to make the film I wanted to make. And in fact they told me "you can’t go to Japan, there isn’t enough money in the budget" and I said "I'm so going to Japan!" Y'know, you're going to have to cut your production fee a bit or something because I’m going to Japan! The lesson of it, and it's almost a cliché of filmmaking, but it is the director who makes…in a sense…everyone else helps with the success and failure in a larger sense with their participation. But it's you who says "no, I will not accept this, this must be in the film" and it's that singlemindedness.
Imagine this story without my going to Japan – it would have failed, it just wouldn't have happened. So it was that moment when you find inside yourself, without being unreasonable - it's very important not to be unreasonable. And at the same time, to have total…to know what you need to say. At every point along the way when you're making the film, know what the line you're taking is.
£40,000, which sounds really impressive. But the production company got a production fee, they used their edit facilities, their desks, etcetera. In terms of making it, I made nothing on it! It was actually some experience, but I actually cut it in my house, and we set up an edit suite in my house. And I never got paid for it. Put it this way - people in your audience will think that's loads, but this was for a television station and it was going out on a Friday! The process that I went through was very similar to what your people are doing - in fact, probably I would have ended up doing it that way now because Channel 4 would never have commissioned it. That's what's changed – that's the saddest thing of all.
The thing that's really sad is that for people, it's the next step - how do you make something if you're not independently wealthy? How do you make a career out of it?
Well, look what's going on with people trying to save Storyville – what they’re doing is so important. And what you guys are doing is important too – you’re maintaining the ecology of documentary-making. But you do still need that ability to move on beyond the web – it's great but it's nice to go beyond it – you have more resources, it helps to have a really good edit, a really good grade, a really good sound mix. These things matter in a film. You know, they make a real difference.
It was really successful. It was sold on to Europe, I got nominated for a BAFTA for best new director, and that was funny because you think it's great to just be nominated but then actually on the night…(laughs) It's hard because I was so appreciative for what Jess had done, and the help I got from Channel 4. I just thought it was a really unusual film, and it then went into film festivals, and I sold it to Australian TV, Canadian TV and I’m just speaking to the States now actually.
And of course, the most important thing of all, to be on the FourDocs site! Seriously, I was so thrilled because it really felt to me like in a way real recognition - this puts it within the history of documentary-making - it's a real thrill for me – it's curated.
A lot of things. Like everyone else in my position, after This is a True Story, I didn't quite understand how television worked! I came up with all kinds of interesting projects – I followed what I wanted to do. And very quickly, the environment just seemed to change in television, and I think ours was the last year of Alt TV.
If you want to do TV, the key thing is to understand how TV works, so a lot of times, people are just starting out and they're very naïve. I mean, there’s nothing wrong at all with just following your dreams, that what you should be doing, but then you should think at the beginning "what am I going to do with it?" because otherwise…I made that same mistake. I came up with projects that were very much along the lines of This is a True Story – really interesting and really innovative formally, and I couldn't get them going.
Basically, now I've done a lot of things - I did a drama for Channel 4, various documentaries, a Cutting Edge this Autumn, but the key thing I'm really excited about is the thing I pitched at Britdoc – 'Through a Glass Darkly'. And it's going to be a feature documentary about one of the greatest mysteries in modern American history, where it's the story of a man who was killed by the CIA, basically because he knew too much, and it’s the story of his son who became obsessed with, and devoted his life to finding out the truth about his Father.
And the key thing about it is that because of This is a True Story, all the commissioners that were there…it's amazing how many people saw This is a True story considering it was just on at 7.30pm on a Friday on Channel 4. I even met a movie director last year who, when he found out that I'd made This is a True story, got really excited. But the key thing for me is that it shows the people with money my form and my style. So it looks like probably, it'll happen.
It's really gratifying when you get to do what you want to do because that’s the key –I always say look at someone like Stanley Kubrick – his filmmaking is really amazing, but what's also amazing is that he got people to let him be Stanley Kubrick. Every filmmaker has two things going on when he's making films – they make what they can, but they're also having to be in this situation where they can convince people to like them to realise their vision. And in a way it's just as important – you can be utterly idealistic but film is on all levels a bit of a business
Yes, I can’t tell you though! If you can get into the position to make…the difference between those who become great filmmakers and those who don't isn't necessarily the best. The world isn't a complete meritocracy – it's also about luck, who you bump into, do you have a success that lets you move onto something? So yeah, I have some projects that I'm aching to do, but right now, Through A Glass Darkly would be a big thing for me because it really is the film that I think will follow on from This is a True Story. I mean, I've done other things that I'm proud of - some were better than others, but you know. This is the thing that I think will be the next big thing.
The second is to have a really clear idea of the kind of film you want to make – which subjects work for you, to develop your own style, form of making films. I mean, they're doing everything I said, the question is what next? You have to have a really clear plan, a strategy – that’s the thing that I often find is lacking in some people I talk to, y'know?
Looking at the FourDocs site, it's obvious they have the first thing, which is a complete love for film and that’s absolutely essential. None of us are going into it for huge money! And it's that total devotion to your craft that is for me the main thing – it's about watching loads of movies, and one of the key things is being open to criticism. To not just listen to everybody, to have your clear vision because people can be totally wrong, but it's being open to what people tell you. That's the first thing.
The second is to have a really clear idea of the kind of film you want to make – which subjects work for you, to develop your own style, form of making films. I mean, they're doing everything I said, the question is what next? You have to have a really clear plan, a strategy – that's the thing that I often find is lacking in some people I talk to, y'know?
Maybe it's because I'm older than a lot of the people on FourDocs, but one thing I’ve found is that everyone is so concerned with being multi-platform, blogging, etc. I can't tell you how many people tell me "Yeah, I’m gonna shoot the film, and while I’m shooting, I’ll also be blogging and writing a book" and I'm like "nonononono get into the thing you are doing, don't get distracted with all the ways you're going to distribute it until you actually made the thing!" I didn't go to Fargo and have a blog about 'second day of Fargo, this is what happened…' You need it all to percolate inside you like a private thing.
There has to be this intensely private process when you’re making a film, in total engagement with what you're doing. And it's really important not to just think of 3 steps down the line. Let all the other stuff just come with you – this is in a way a contradiction with what I said earlier, but what I mean is, when you’re actually making it, you know, make it!
Someone whose stuff I really like is Lee Kern – I think Lee is like the British Woody Allen. I really respect the way he doesn't give a fuck, and I think he is incredibly funny. I loved his psychics film – I was on the floor, it's such a unique style. When you watch a Lee Kern film, you know it's a Lee Kern film. Also, I don't need to kiss his arse, but someone like Angus – The Last Peasants was just an unbelievably beautiful film. I think Angus is really good. I've also been watching a lot of Nick Broomfield – not a very interesting answer, but I saw Fetishes the other day and loved it.
I also really really respect Rajesh (Thind) as a younger filmmaker. I also really like what Ben Hopkins is doing. We seem to be operating in the same area - 37 Uses (for a Dead Sheep) was really interesting, and beautiful as well.
I love people who just keep doing it – don't get fixated on one thing, there will be new things, do something everyday. And the more you do, the better off you'll be in the end
Oh god, that is so tough, it's not fair, I'll get back to you!
