Put down the camera and listen — The stage before visual storytelling

Unhindered curiosity followed by inspired intention. That is probably the most succinct way I can describe my documentary pre-production process at this current point in time.

The formulation of my process really began during the production of Trespass: Stories from Singapore’s Thieves Market, which took 23 days over six months to film. What I often recount to others about the making of this documentary was that the first six days of filming was essentially trashed due to my impatience to go into the heart of the subject to film - without observation nor proper appreciation of what I am about to cover or uncover. And that showed in the raw footage - they were unmotivated, messy frames.

So, I placed my camera down for the next few days, and allowed my curiosity to take over my eagerness to make the documentary. I wanted to listen to my subjects and experience what they experience firsthand, believing that such knowledge is essential in telling a good story, especially since the story to be told is that of someone else’s.

Without a camera in hand, I naturally begin to converse with the people I meet, or think about the environment that I am in. I was also fortunate to learn through many interviews that I can show my sincerity in attention by asking good questions based on the novel information obtained in those conversations. That not only unlocks more content in the conversation (just like how you would in a role-playing game), but it also builds trust - trust that is vital when the documentary production gets underway.

In many projects such as this, these conversations often carry on through different days and different platforms. So during the in-betweens, I reflect and research on what I have learnt. The label of “documentary” necessitates this due diligence. But beyond fact-checking, I also use this opportunity to sharpen my intention. I recount what I had experienced to the people around me, and pay attention to their reactions. I am finding out what works and what does not. I took this out of the comedian’s handbook as they refine their sets night in, night out. I encourage people who wish to express themselves more to do the same.

While there is a spectrum of opinions when it comes to the intention or neutrality of the filmmaker of a documentary, I am of the opinion that one cannot fully remove themself from their work, and so rather than to view their inherent biases as taints on the story, filmmakers should see them as magnifiers of the perspectives that exist in the documentary.

My intention to tell the story at hand is inspired by the conversations and experiences that come before, during and after the camera is turned on. When Trespass was screened for some of the vendors and community members of the Sungei Road Market during the first anniversary of its closure, I was told that I had captured the feeling of the place.

I am eager to do so, again and again.