PROMPT ONE

 

 

PROMPT TWO – INTERVIEW QUESTIONS AND JUSTIFICATIONS

 

My approach for this interview will primarily be one of research and listening. I will be actively listening and engaging with the interviewee, in order to understand their narrative, and how it might translate into a shorter profile. Moreover, I’d like for the interview to be quite conversational, so the interviewee is comfortable and able to answer naturally (and hopefully, in detail). I will also be asking the interviewee to include/phrase the question in their answer. This way, their dialogue will have some context on its own, and may potentially be easier to work with during post-production.

 

1. Could you tell me about your experience entering into the Australian film industry, and where you are today?

I think this is an appropriate question to start the interview, because it gives the interviewee a chance to feel comfortable by introducing themselves. It’ll also help provide useful context of their working background for viewers of the profile.

 

2. Is there something you strive to focus on, or evoke in your work?

I think that this is an interesting question to follow up with, because it allows for a more personal look into the interviewee’s work, creative process and potentially, passions.

 

3. Which project of yours has been the best experience to create?

I always think it’s interesting to see what a professional’s ‘favourite’ project is – although sometimes they can’t pick one. So, I think it’d be both insightful and fun to see which one they enjoyed the process of creating the most instead.

 

4. What have been some of the biggest challenges you’ve faced during your career so far? How did you manage to overcome them?

I think this question will dig deeper into the interviewee’s industry experience and how they’ve navigated it (and its challenges) over the years. I also think it’s interesting to see how people problem solve and find practical (or not so practical) solutions.

 

5. The screen and media industries have been historically exclusionary of women and minorities, both in front of, and behind the camera. How has the industry changed or progressed since you first started working, if you think it has at all?

Following the above question, I hope this will generate some insightful conversation on the interviewee’s perspective on the issue. As well as their own experiences in the industry as a woman throughout their career, how they’ve dealt with any challenges pertaining to this issue, and how it may have influenced any of their works.

 

6. Do you have any advice for other young female or minority creatives, hoping to pursue a career like yours, or in the screen industry?

I think this will be a relevant question to ask given the context of previous questions. It’s also an important question, and will hopefully allow for the interviewee to shed some light on what the industry is like (or may be like in future) in an honest, and possibly inspiring manner.

 

PROMPT THREE – NON-FICTION FILM ABOUT FILMMAKING ANALYSIS

 

Axel Girgor’s feature documentary on renowned Australian film editor, Jill Bilcock, is not only an engaging exploration of the woman herself, but also the art of film editing. Grigor’s storytelling style uniquely balances information and visual engagement, all whilst supporting Jill’s narrative.

Girgor’s storytelling style is immediately established in the film’s opening. The sequence cuts between a variety of visual material – shots of Jill at her editing desk, interview footage and scenes from Jill’s films. Alongside the swelling non-diegetic operatic music, Grigor sets up the pace of the sequence, and moreover the film. It’s direct, fast and honest – alike to the documentary’s narrative of Jill’s unexpected entry into the industry and booming career. The interview audio of Jill’s genuine advice that the “beginnings of movies have got to be way above sensational”, paired with the interview dialogue from industry professionals praising her as “one of the best film editors in world”, effortlessly establishes her credibility as a creative – even for audiences who may know nothing about her.

Grigor’s matching of relevant footage to the discussion within the audio is also a recurrent stylistic theme. We see this in the opening, whereby Girgor cuts between an array of lively, colourful scenes from the projects Jill has worked on, as she comments – “I want wild, I want innovative, unusual and visually extraordinary”.

As the film progresses, we see how Grigor also uses other types of archival footage to explore Jill’s experiences and her passion for editing. Ranging from Jill’s personal footage of her travels to India, to old film footage and images from Jill’s early career working at ‘Film House’. Grigor’s effective use of this archival footage creates a dynamic and entertaining viewing experience.

What’s more, Girgor’s interview style works to provide engaging discussion and audio. The interviewee’s phrase both the question and the answer themselves, allowing for a seamless viewing experience, not interrupted by a question card or interviewer audio. As well as this, his positioning of interviewees to either side of the frame instantly draws our eye and enables those fleeting shots between archival footage to be equally engaging.

All of these elements compliment the documentary’s overall narrative as it moves from the beginning of Jill’s career to the present. Grigor is successful in showcasing Jill’s impact on the industry, her projects and others, in a truly delightful and captivating way.

 

References:

Casting JonBenet 2017, Film, Netflix, California, US, Directed by Kitty Green.

Jill Bilcock: Dancing The Invisible, 2017, Film, Film Art Media, Directed by Axel Grigor.

The Dressmaker 2015, Film, Universal Pictures, New York, US, Directed by Jocelyn Moorhouse.