Bit of a weird question, hard to explain (yeah, I'm good with them word things, talented writer I are). I'm planning on trying a mockumentary style show (similar style as The Office, or Operation Good Guys), but I want to see not only through the documentary crew's cameras, but through a "normal" camera.

For easy reference, imagine The Office, but not only do we see through the eyes of the documentary film crew's camera, but we see the show "normally" -- i.e., we can see the camera crew while they set up shots, etc.

How would be the best way to describe the difference between the two? Would it be done in the action? In the slugline? Say one scene is through the documentary camera (or like Hud in Cloverfield, for instance), and then we might switch to another shot -- NOT from the documentary camera -- that shows the cameraman checking the footage he just got. If this change happens quite a lot in the script, what's the best way to describe it?

Hope that makes sense. Thanks.

You could use an 'interview chair' that your characters sit in, or just say that the characters talk to the interviewer (O.S.) during the interview.

I'm pm you the names of two mockumentaries I wrote.  I think I did it pretty well.  I'd post the names here, but I'm afraid my post would be deleted.


Phil

Thanks, they helped (somewhat).

What I'm trying to do is have a documentary within a show, like if you were watching an episode of 24, and a documentary crew was following Jack Bauer around for a day. I'd want to switch between our normal view of the show and looking through those documentary cameras. There wouldn't always be the benefit of an off camera narrator giving cues, or characters looking right at the camera and talking. See what I'm getting at?

Perhaps you can use INSERT and BACK TO when using the interview camera?


Phil

I suppose the audience is, depending on how you set it up, going to assume they're viewing the characters a certain way for the whole script anyway. The only clarification needed would be when viewing them differently.

If the majority is from the documentary camera crew, the only switch would be saying we're seeing things from a general POV. But then, when we change back to the other POV, does it need saying every time, or would it be assumed? Would it soley depend on how the action is described?

Am I overthinking this? Likely.

Overthinking is what writers do best.

IMHO, INSERT and BACK work best.


Phil

Quoted from Vaughn But then, when we change back to the other POV, does it need saying every time, or would it be assumed?

I asked a similar question to this very part and got the feeling that you in fact have to keep telling us that you're changing or else people get confused.

Quoted from dogglebe Overthinking is what writers do best. IMHO, INSERT and BACK work best. Phil

Sorry to be a nuisance, but could you give an example of how they would be used to get the desired effect?

Try the script for EDTV (it's online here).  It's kind of close to what you're trying to accomplish.

Quoted from Tierney Try the script for EDTV (it's online here).  It's kind of close to what you're trying to accomplish.

Ah excellent, I've been looking all over for something similar. Thanks!

Quoted from Vaughn Sorry to be a nuisance, but could you give an example of how they would be used to get the desired effect?

FADE IN ON

KIRBY stands at the entrance of the alley, firing his pistol.

                     KIRBY (V.O.)
       I lost count how many times I shot at
       Jack--

Kirby slips a fresh magazine into his pistol and continues firing.

                     KIRBY (V.O.)
       All I needed to do was hit him once.

INSERT

Kirby sits in the interview chair.

                     KIRBY
        Turns out that son of a bitch wasn't
        even in the alley.

BACK TO

Kirby enters the alley, firing away.




Phil