Subject no longer wants to be in film

[Omar N]

Community, I have a question.

I travelled over seas to produce a documentary on a specific family, who originally was willing to be in my film. They were fantastic during the preproduction phone calls where they expressed tremendous amounts of interest in being a part of it, and loved the idea of having their story told on camera. When I first got here, they continued to be great and were very willing to appear in the film.

Fast forward about a month later, and they have decided they no longer wish to be part of the film. They are OK with me using everything I have collected so far, but simply don't feel like being on camera any more. Nothing happened to prompt them to feel this way. I get the impression they just don't care enough to be involved anymore.

This has me extremely upset, because I made a lot of life sacrifices to fly out for this project, and I now feel like I am dead in the water with a story that is only have completed, all because the family simply doesn't feel like being in it anymore. I told them from the get go that I would need two months and they agreed, but now they are going back on their word. There were many families who would have loved to be in this film, but I chose this particular one, and now I feel I made a mistake.

My question is, has anyone else had this happen to them? Does anybody have any advice on how to handle these type of situations where the films subject does doesn't want to do it anymore? Any bits of wisdom will be really appreciated.

Thank you,
Omar

 

[Bob Gundu]

Seems to me your only recourse is to make it worth their while somehow.

 

[Morgan Ryan]

Yup. +1
Sounds like an indirect way to ask for some kind of compensation.

Seems to me your only recourse is to make it worth their while somehow.

 

[Curtis boggs]

Yup. +1
Sounds like an indirect way to ask for some kind of compensation.

yup

 

[Björn Benckert]

A good backup plan is great if you dont have it, then money is a great solvant for things like this.

 

[Chris Henze]

In my opinion paying money, while it sounds good at first will only serve to encourage their bad behavior and you'll never know if they're just acting to get paid, your film will suffer.

I'd think about if the family's change of heart is in some way related to your story. If you chose them there must be something interesting. I embrace all chaos created when I make documentaries and then the twists and turns that can come up while making a film are interesting.

Maybe find another family and tell both stories. Tell family one's story and include their dropping out. The fact that family one dropped out is part of the story now. Embrace it.

 

[Dan Kanes]

Since you're asking for advice...

I would see what kind of movie you could make with what you have so far.

If you can make an 88 minute compelling movie, or even a 20min short that has strong elements, you may already have something.

Closing the loop or answering "all the questions" for people sometimes makes a less powerful story than leaving people begging for more and wanting to know what happens next... world may never know...

When the movie gets enough attention, they may want it to come back...

Which is where your sequel, with a contract on paper arrives.

Take a look at what ken burns does with a very limited amount of actual footage - may be good inspiration.

As you mentioned, there are others who may fit a similar profile... maybe it's an ensemble story.

Three families, similar circumstances, different results.

 

[Owen Rennie]

Star wipe- suspense music- voice over announces family have been kidnapped by Mexican cartel- cute kittens falling off lounges- THE END... or offer them 10k on completion of film haha

 

[a whitmer]

In my opinion paying money, while it sounds good at first will only serve to encourage their bad behavior and you'll never know if they're just acting to get paid, your film will suffer.

I'd think about if the family's change of heart is in some way related to your story. If you chose them there must be something interesting. I embrace all chaos created when I make documentaries and then the twists and turns that can come up while making a film are interesting.

Maybe find another family and tell both stories. Tell family one's story and include their dropping out. The fact that family one dropped out is part of the story now. Embrace it.

Stellar answer!

Maybe start talking to other families, and look for a creative way to merge the stories. This could be an opportunity in disguise.


If it brings any kind of small closure, make it so fantastic that the original family feels stupid for pulling out

 

[Zeb B]

Steven Spielberg shot Jaws without the planned shark after it took a mechanical shit. Went into full Hitchcock mode instead. Ended up with a way better movie

 

[Marc Wielage]

If you had a contract with them, you could sue the crap out of them.

Beyond that, this is what tough producers are for. They can plead, they can cajole, they can threaten, they can bargain, they can do whatever it takes to convince them to change their minds. Maybe there's a compromise that's possible.

 

[Michael J Brennan]

Do a very rough paper edit.

What are you missing?
Write in the gaps with what you had hoped to film.


Ask the family if they will agree to you making audio recordings, that you can use to fill in these editorial gaps.

You may need only one of the family to fill in the gaps.
Perhaps you can use existing footage to support the audio.

Think out of the box and beyond the original concept.

It may be that your new treatment is quite good for you but be a little disagreeable to the family. At this point you can suggest to a the family that their continued involvement is better for them.

Perhaps you could enlist a A grade doc producer for specific advice.



Mike Brennan

 

[Craig Parkes]

You keep making the film. Go into post, get together an edit - find out what story elements you are missing. Keep talking to them, let them know how it's going, show them progress if you think it will help your case. This happens to documentary all the time. If there is some event that you need coming up that they don't want you to cover you are going to have to get creative. Otherwise this is a temporary set back that you just need to figure out how to solve.

Sometimes that's begging and pleading - sometimes that's bribing. Sometimes that's walking away and coming back. Sometimes it's a completely new tact. Phone calls with them (ask if it's ok to record the conversations etc) as long as you keep documenting you have more stuff to make the documentary. The story might change but you are the story teller. Figure it out.

 

[Brian F Kobylarz]

Was there any record made of the agreements? Anything in writing?
If not in writing, are there at least any references in the recorded material that you have rights for mass public distribution?

Many distribution channels are closed if the right paperwork is not in place.

I concur with the prior posts about looking at building a new project with a greater cast of characters and modified story line.
Your original cast may even have a change of heart if they learn of their diminished role or the introduction of "alternate facts".

First priority: Just ensure that there are no legal risks for yourself if you use the archived material without associated releases.

 

[Justin McAleece]

Have you seen Winnebago Man? He drops out of the doc several times in one way or another. It only makes it more interesting.

 

[C. Burkhart]

Community, I have a question.

I travelled over seas to produce a documentary on a specific family, who originally was willing to be in my film. They were fantastic during the preproduction phone calls where they expressed tremendous amounts of interest in being a part of it, and loved the idea of having their story told on camera. When I first got here, they continued to be great and were very willing to appear in the film.

Fast forward about a month later, and they have decided they no longer wish to be part of the film. They are OK with me using everything I have collected so far, but simply don't feel like being on camera any more. Nothing happened to prompt them to feel this way. I get the impression they just don't care enough to be involved anymore.

This has me extremely upset, because I made a lot of life sacrifices to fly out for this project, and I now feel like I am dead in the water with a story that is only have completed, all because the family simply doesn't feel like being in it anymore. I told them from the get go that I would need two months and they agreed, but now they are going back on their word. There were many families who would have loved to be in this film, but I chose this particular one, and now I feel I made a mistake.

My question is, has anyone else had this happen to them? Does anybody have any advice on how to handle these type of situations where the films subject does doesn't want to do it anymore? Any bits of wisdom will be really appreciated.

Thank you,
Omar

In my opinion everyone so far has missed the point. And probably so have you.
The answer has nothing to do with technique, editing, contracts, money, saving what you can, etc.

I think the answer in this situation is communication and most especially LISTENING.
Thus far you don't appear to have any idea as to why the family is no longer interested.
In short, it is likely that you probably have not been a good enough listener.
It seems clear to me that you haven't understood something they have probably been trying to tell you for a while.
When things begin to break down, there are clear signals long before it actually happens.
In order for the situation to change, something about the way you are working will need to change too.
What is that ?

You need to ask them about this. You need to be open to them and really let them speak their mind about anything that might be bothering them.
My guess is that as long as you are involving them in the process of making the film and give them some role in the decision making process they will remain interested. The key to harmony is participation.
When people start to feel like furniture, they go dead. Is there anything in the way you are working that would cause them to feel this way ?
Is your vision of the film and the road it is supposed to take so fixed, that there is no room for them to be spontaneous or to participate in it's direction ?

I would say you are at a crucial point in the process. There is something that you need to learn, that only this situation and these people can teach you, but which could potentially teach you something really important about your craft.

Remember, communicate with great honesty about where you are at and then be prepared to really LISTEN.
If they feel you are attempting to connect with them with real sincerity and willing to really listen, they will be moved to help you and the blood will begin flowing again in your project.
Be prepared to really question yourself and share this too with them.
You will be surprised at the answers, and your film will improve immensely as a result as well.

 

[Matt Bai]

Disturbed at a lot of the advice$.

Reading your story my response/advice was simple. "THATS LIFE."

Beyond that, you will now make a better version with this limitation.

Money is the devil but I don't expect anyone to understand that.

 

[Matt Bai]

You could always whine on a forum though, why not. That works.

 

[Omar N]

Thank you everyone for the advice! I really appreciate everyone taking a moment to offer some suggestions. For the time being, I was able to work things out with the family and extend their interest. Like many of you have suggested, it took a little bit of conversational creativity to revive their spirits, but so far it appears to be working. I expect interest to probably drop down in another week or so, so I'll have to just work more quickly than I have been. Thank you!

Matt, I am a little confused why you consider this whining. It is a question aimed at filmmakers more seasoned than my self, in hopes to glean advice from others who may have encountered similar experiences. Seems perfectly valid to me.

 

[David Collard]

Omar,
Your question was unusual but quite valid for a filmmaker suffering an expected setback.

Glad you were able to move things forward. Often unexpected challenges can result in superb creative results.
Best wishes.