contentsfull screen
printcontentsfull screenprint1832 VIDEOMAKER >>> JUNE 2019
I am making a partially dramatized documen-
tary about a diary that was first found in the
ashes of Auschwitz. Admittedly, none of us is
making the feel-good movie of the summer.
Over coffee the next morning, however, we
find comfort in chatting with colleagues. Our
mentors are deeply engaged in bringing chal-
lenging stories to light. We can confide in them.
Since many of us may be dealing with confiden-
tial or sensitive sources, the workshop oper-
ates under Las Vegas rules. What is said at the
workshop stays at the workshop.
With this understanding, for the next two
days we dive into a variety of topics. These
range from the fast-changing documentary mar-
ketplace to legal obstacles and confrontational
interviews. Throughout these sessions, we bom-
bard the instructors with questions from our
own works-in-progress. This process enables us
to apply lessons to our specific situations.How to bullet-proof a documentary
Common themes emerge over the course of this
process, including the expectation that our work
will be judged by the standards of journalism,
even if we view ourselves as artists or storytell-
ers. This thread weaves its way into various
specific take-aways of the workshop.Don’t fall in love
Kerry Smith warns filmmakers against “falling
in love” with subjects or sources. She advises
taking steps to protect their films from the
critique that their approach is one-sided. “I’m
kind of obsessed with it,” Smith admits. “It can
really protect you and your work if you include
substantial comment from the other side with
appropriate context.”Don’t follow the crowd
Bergman points out that examining a story
from a different angle can lead to an investiga-
tive scoop. To describe what it can be like when
many journalists all cover the same story in the
same way, he offers the metaphorical example
of a group of children playing soccer. All the
children huddle around one ball, trying to kick
it. “But the real story,” Bergman says, “may be
way down at the other end of the field.”Beyond the Workshop: Investigative
Studios launches new production
model with feature doc “Who Killed
Lt. Van Dorn?”
Investigative Studios, a new nonprofit
production company affiliated with
UC Berkeley’s IRP, is uniting award-
winning career journalists and jour-
nalism students to produce original,
multi-platform investigative stories for
national and international audiences.
The company’s first independent
theatrical feature film, “Who Killed
Lt. Van Dorn?” investigates the deadly
accident rate associated with the US
military’s 53E helicopter, revealing
misaligned incentives in the defense
establishment that threaten the very
lives of those dedicated to protecting
our country.Lt. Van Dorn
The gripping and heartbreaking doc
took home an Audience Award after itsHe cites the McMartin Preschool case as an
example. Initially reported as a story of rampant
child sex abuse, Bergman later produced a two-
part segment for “60 Minutes,” which exposed
the case as a fraud. In truth, prosecutors and
phony experts had coached children into fabri-
cating accounts of abuse.Be proactive on legal matters
With a touch of humor, Gary Bostwick offers a
primer on many practical legal issues that docu-
mentarians encounter in their daily work. His
presentation includes what does and does not
constitute defamation or an invasion of privacy,
how to handle leaked documents and protecting
yourself from lawsuits.
“Saying, ‘They probably won’t sue,’” he advises
us, “is like saying, ‘I know there’s a landmine out
there, but I probably won’t step on it.’” Helpfully,
he highlights not only the common legal risks
faced by documentary filmmakers, but prompted
by our questions, Bostwick digs into situations
particular to each of our projects.A community of creators
As a peer group, we also help one another in
areas where we are familiar. Having filmed
extensively in California prisons for one of my
earlier films, I offer guidance to a filmmaker
now documenting hunger strikes in those same
penitentiaries. Another filmmaker, in turn, offers
me some off-the-beaten path tips for locating
archival footage.Benefits of attending
The two information-packed days fly by quickly.
Workshop participants, however, receive the ben-
efit of an association with the IRP for an entire
year. This ongoing relationship acts as a seal of
approval as we seek support for our films. It also
opens the door for filmmakers to reach out to
the instructors with additional questions as they
arise during production.
I emerge from the workshop recharged. I have
been reminded not just of the ethics of good
journalism, but also of the many reasons uphold-
ing those ethics leads to better filmmaking. In
today’s documentary world — which can seem
either cluttered or abundant depending on your
outlook — I have a better sense of the opportuni-
ties and challenges in play.
Thus, I return to the solitude of my home of-
fice, but I now have a lifeline that I can tap into
when I find myself either at a dead end, or sim-
ply at a point where it would be helpful to hear
a wise and objective voice verify that I am on the
right track.UC Berkeley offers professional workshop for documentary filmmakers
“SAYING, ‘THEY PROBABLY WON’T SUE,’ IS LIKE
SAYING, ‘I KNOW THERE’S A LANDMINE OUT
THERE, BUT I PROBABLY WON’T STEP ON IT.’”
— GARY BOSTWICK385 F06 I.R.P. Professional Workshop.indd 32 4/23/19 2:03 PMVIDEOMAKER >>> JUNE 2019 33
Beyond the Workshop: Investigative
Studios launches new production
model with feature doc “Who Killed
Lt. Van Dorn?”
Investigative Studios, a new nonprofi t
production company affi liated with
UC Berkeley’s IRP, is uniting award-
winning career journalists and jour-
nalism students to produce original,
multi-platform investigative stories for
national and international audiences.
The company’s fi rst independent
theatrical feature fi lm, “Who Killed
Lt. Van Dorn?” investigates the deadly
accident rate associated with the US
military’s 53E helicopter, revealing
misaligned incentives in the defense
establishment that threaten the very
lives of those dedicated to protecting
our country.Lt. Van Dorn
The gripping and heartbreaking doc
took home an Audience Award after itsHe cites the McMartin Preschool case as an
example. Initially reported as a story of rampant
child sex abuse, Bergman later produced a two-
part segment for “60 Minutes,” which exposed
the case as a fraud. In truth, prosecutors and
phony experts had coached children into fabri-
cating accounts of abuse.Be proactive on legal matters
With a touch of humor, Gary Bostwick offers a
primer on many practical legal issues that docu-
mentarians encounter in their daily work. His
presentation includes what does and does not
constitute defamation or an invasion of privacy,
how to handle leaked documents and protecting
yourself from lawsuits.
“Saying, ‘They probably won’t sue,’” he advises
us, “is like saying, ‘I know there’s a landmine out
there, but I probably won’t step on it.’” Helpfully,
he highlights not only the common legal risks
faced by documentary fi lmmakers, but prompted
by our questions, Bostwick digs into situations
particular to each of our projects.A community of creators
As a peer group, we also help one another in
areas where we are familiar. Having fi lmed
extensively in California prisons for one of my
earlier fi lms, I offer guidance to a fi lmmaker
now documenting hunger strikes in those same
penitentiaries. Another fi lmmaker, in turn, offers
me some off-the-beaten path tips for locating
archival footage.Benefits of attending
The two information-packed days fl y by quickly.
Workshop participants, however, receive the ben-
efi t of an association with the IRP for an entire
year. This ongoing relationship acts as a seal of
approval as we seek support for our fi lms. It also
opens the door for fi lmmakers to reach out to
the instructors with additional questions as they
arise during production.
I emerge from the workshop recharged. I have
been reminded not just of the ethics of good
journalism, but also of the many reasons uphold-
ing those ethics leads to better fi lmmaking. In
today’s documentary world — which can seem
either cluttered or abundant depending on your
outlook — I have a better sense of the opportuni-
ties and challenges in play.
Thus, I return to the solitude of my home of-
fi ce, but I now have a lifeline that I can tap into
when I fi nd myself either at a dead end, or sim-
ply at a point where it would be helpful to hear
a wise and objective voice verify that I am on the
right track.Directed and produced by Zachary
Stauffer, “Who Killed Lt. Van Dorn?”
is the first feature production from
Investigative Studios. The docu-
mentary examines the systems and
incentives that led to the unaccept-
able accident rate of the 53E helicop-
ters and the untimely deaths of Van
Dorn and other military personnel.UC Berkeley offers professional workshop for documentary filmmakers
385 F06 I.R.P. Professional Workshop.indd 33 4/23/19 2:04 PM