Restless Nights — Building Trust with Interviewees
Picture a lone chair in front of lights and cameras. (Well, you do not really need to given the article header image)
That's me, on that chair after eight and a half hours of interviews with five amazing sporting personalities. Together, they had 280 years of coaching and life experiences for me to make sense of and appreciate. That is the context of this project - though more will be revealed in due time. As for the context of this article, here's how those hours of interviews, spread over the course of three days, went for me.
The night before was restless. The months of preparation leading up to that night was ripe for some inner conversations about one's own doubt. Up till this point, I had extensively researched my subjects, scoured the Internet for any information I could find, and borrowed a few books about their histories and legacies. This, for those who are unfamiliar, is the kind of secondary research that is often the first step in such documentary projects.
Such concerted efforts are made to ensure that the next step is taken well - the pre-interviews. Years of Documentary Storytelling has informed me of the value of this step, one that is not always a given depending on the circumstances surrounding the project such as time constraints. Fortunately, I was afforded two sessions of pre-interviews per documentary subject. Those were some of the most enlightening conversations that I have had in recent memory.
The first session is arguably the most important - especially at a time when face-to-face meetings are increasingly rare. I have written about the importance of preserving the integrity of the stories I tell and the responsibilities that come with it. So, when I meet my documentary subjects for the first time, it gives me the opportunity to showcase my earnestness in research and sincerity in ambition in order to earn their trust. Because I understand how strange such an onboarding process might be.
Very few of my documentary subjects have ever signed on to such a project with no reservations. It is akin to going to a new hair salon, though with much larger implications. What has compelled them to at least allow me to pre-interview them? And what are their concerns that I need to alleviate to help them be themselves in a setting of lights, mics and camera - hardly a comfortable environment, I know. Through this project, I will be a custodian of their story, and trust is essential for it.
One may be wise to appreciate that trust does not have a steady state, so every touchpoint is an opportunity worth taking to build credibility. The ultimate test of that credibility would come during the actual interviews themselves.
The documentary series consisted of three days of studio interviews in total. This would serve as the backbone of each subject’s respective episodes. Each interview comprised of two 40-minute sessions with a 20-minute break in between. This was designed following past interview experiences where people seemed to require some time to recuperate after the 40-minute mark, generally speaking. Having 2 sessions was also advantageous for me as it allowed me to try a new strategy should the first session face certain issues.
Such hurdles may arise because I had entered into the questions too quickly, making the subject too self-aware of his/her own response. Or perhaps the various techniques used before the camera rolled were not as effective, though it is certainly not from a lack of trying. The crew understand the sensitivities of such a project, and like a front desk of a hotel, everyone has a role to play in welcoming the guest into this experience. For example, the makeup artist would ask me questions about the subject so that he/she can strike meaningful conversations. Every crew member has a duty to act on each touchpoint to help the interviewee ease into the spotlight. But sometimes, once you sit on the centre chair, the environment may still be too daunting.
The two pre-interview sessions gave me a good basis to compare what is their public persona and self-presentation. And so based on my observations, I am able to cut the first session short if needed, regroup, and try again. It is not disappointing should the first session not go smoothly, it is an expected part of the process - yet another opportunity to alleviate their concerns and affirm trust. Done well, and the second session will prove it through the filming of a person who is sharing his/her story in a manner that is true to who they are. That is not only my job as a Documentary Storyteller. That is also my belief as a human being.
Each night before an interview shoot is restless. Exhausted from preparation, I lay in bed earlier than I would have in a naïve attempt to get more rest - but the mind wanders while the clock ticks away. I've come to take such sessions in stride. Responsibility wakes me up in time to be at the studio. And it is only at the end do I get a short reprieve - because this is just the first segment of this documentary series' production. There are still weeks of work to look forward to.
