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Chapter 17 discusses the importance of research when it comes to producing your documentary. Hampe reminds us that the whole point of research is to help us gain knowledge about the topic, find more sources of information, and to express that information that we find. I found this section of the chapter to be interesting because he emphasizes the idea that interviews for documentaries should be more about information mining and less about a day to day conversation.

Chapter 18 is about the structure of the film, particularly the BME (beginning, middle, and end). I really like the part about the opening scene where Hampe reminds us that we need to grasp the viewers attention. He says that you want to make sure the audience wants to see what will happen next. When you accomplish this, Hampe says that you will still find them watching 2 hours in and they will stay till the end of your film.

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Chapter 16 really emphasized the importance of structure in storytelling throughout a documentary. It noted how the flow of the story matters. The beginning needs to be attention grabbing and then built upon with different ingredients and a solid ending to wrap it all up.

I really liked in chapter 17 when Hampe discussed the ending of documentaries. He said you know you can end it when nothing else needs to be shown. That is a really good way of looking at it. You've included all the footage and storytelling you could and nothing more is needed to make it complete.

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Something in chapter 16 that I found interesting was the 4 things that scriptwriters do when making a documentary. Research and planning, visualization, organizing a structure for the film, writing the words that are needed. Through the making of a documentary each of these steps is important to create a successful documentary of any type.

Something in chapter 18 about structure that I found important was the section talking about overcoming barriers. "Who wants to of what and why can't they?" This is important when creating a story to share the main conflict in the story which can provide an interesting and goal to the documentary.

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The first thing I found interesting was in chapter 16, when it discusses the visualization and organization of creating a documentary.

It made me think of when I had taken my screenwriting class last year. I would always remember my professor talking about visualizing the documentary rather than thinking of what the script was going to be about, just because sometimes as storytellers some of the things we think of putting in our script are not visual or aren't what any normal person would say. It has its corny moments.

Another thing I found interesting was the organization of the index cards explained in Chapter 18 just because this relates to our documentary class because it helps create that visual.

And finally I found it interesting how script format does not matter. Production offices are meant to reject, but that is one thing they do not care about.

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In chapter 19 Hampe discusses how to write the proposal and treatment. This can be a pretty tricky test for a documentary filmmaker compared to a narrative filmmaker because of the fluidity of the documentary. Unless you have everything filmed and edited, you do not really have an exact gauge of how your documentary is going to progress as film visual evidence and conduct interviews. This is why Hampe emphasizes brevity, keeping things short and open in your documents will allow you to not be anchored down and flow along with the progress of your film.

Hampe emphasizes the importance of structure in chapter 18 and how it is very important to have a good outline which has a clear beginning, middle, and ending. What I want to focus on is how Hampe wants there to be very little exposition. It is very important to have your subjects sneak the exposition into your documentary so that the viewers do not feel overwhelmed in the beginning.

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In chapter 16 Barry Hampe talks about documentary writing where writers are gifts to the production of films doing the research, planning, visualizing, organizing the structure for the film and writing the piece that is needed.

In chapter 17 Barry Hampe discusses about researching topics to create a documentary with questions to think about as the writing and shots come together.

In chapter 18 Barry Hampe talks about the structure of the documentary being the most important because the structure is what puts the film together.

In chapter 19 Barry Hampe talks about proposals and treatments which is planning the ins and outs of the the documentary before its even filmed. This explains what the documentary will cover in writing.

In chapter 20 Barry Hampe discusses about the script of the documentary is basically a camera without the lens explaining each scene visually with the image or picture of things happening.

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An aspect that stood out to me was in chapter 16 when Hampe explains how important a writer can be to your crew. Hampe talks about how the least productive use of a scriptwriter is to film everything and to edit everything then to hire the scriptwriter. Then I thought to myself has this actually happened before? How can you expect someone to write a script for you when everything was already filmed? I feel that a scriptwriter should always be part of the pre production planning.

Another aspect that peaked my interest was in chapter 18 Hampe explains how the goal of documentation is to keep your audience wondering what will happen next. He explains how it may be at the beginning of your documentary or in the middle or it could possibly be a conflict scenario awaiting a solution. All of these aspects of documentation are important because by keeping your audience thrilled it also keeps them paying attention and understanding the story that is being shown.

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I really liked how throughout these chapters Hampe goes through different plot points of a documentary. He talks about going from the opening scene to a little exposition, then presenting evidence and conflict, and then eventually leads to the resolution and the closing. He goes into good detail on each part and what they entail. For example, the opening scene is extremely important because it has to interest the viewer enough to continue watching. I really liked how in chapter 20 it talks a lot about script writing and format. Even if a documentary doesn't have dialogue, it is still important to describe how each scene should look. Script writing is necessary in order for each scene and the film overall to come to life.

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The first thing that stood out to me was the visualization section of chapter 16. In this section, Hampe writes that you cannot just focus on the topic of the documentary. You also need to think of ways to show the topic and have visual evidence.

The second thing that stood out to me was the section in chapter 17 about identifying visual evidence. By listening to every interview, you can get an idea of what to include in your film. If there is a good lead on visual evidence, it is okay to ask follow-up questions so more footage can be included.

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Hampe's point on not just telling the story but also showing it was a standout for me in chapter 16. As I've been working on the outline for our documentary I've had to stop myself multiple times due to an excess of exposition. As Hampe says, talking about a problem isnt documenting it, its documenting what others have to say about it.

I found it interesting in chapter 20 when Hampe discusses what content should actually be included in a script. A good script is likely to be relatively thin because its not the scriptwriters role to layout how to make the entirety of the film. Details regarding the camera movements, shot planning, and potential edits shouldnt be the responsibility of the scriptwriter unless their inclusion are necessary for the sake of the scenes. It puts the amount of team cohesion needed into perspective for documentary creation.

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Chapter 16-20 talks about writing a documentary, the script the structure, the proposal and treatment. One of my take away from these chapter is that using a script is helpful and logical it makes it easier. it will help you visual write out the production from star to end. They talk about having a script writer, and some of the writing is done by producer and director. their the one that they know what they want the visual outcome to be.

Also talk about the research doing pre research on your topic before production. it will help with visual. Having not knowledge about the topic but but additional source and a evaluate interview on camera. These chapter talks about the layout of how documentary should be.

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Chapter 16 to 20 talks about what I was wondering about: writing the documentary. It seems like being in the production and post-production of a documentary is, in my view, a lot easier in the sense of obtaining the things, but pre-production seemed like a nightmare. First of all, we are told to not plan around certain aspects of the documentary or a person, so it is impossible to plan something using those elements as the base. Instead we have to choose a broad topic to build on and research endlessly for different cases. So my question is: How do I go about creating a documentary centered around one aspect but not writing like it is centered?

Clearly the book goes and answers some of the questions, but it is more of a book says while the teacher says a moment that crashes for the sake of this semester documentary. Apart from that, I appreciate knowing how to lead interviews with questions and answers that lead to more questions beside knowing how to structure and “write” for the documentary.