Index
409 index action scenes, 194–95 actors, use of, 302–5, 309–10, 358 Adolf Eichmann: The Secret Memoirs (Rosenthal), 112–13, 122 advertising, 39, 138, 369–76, 385–88 Agony and the Pity, The (Ophuls and Harris), 315 American Experience, The (PBS), 311, 366 American Family, An (Gilbert), 195, 329 American High (Rosenfeld), 67–68 And the Band Played On, 294–95 Angela’s Ashes (McCourt), 328 Anka, Paul, 2–3 ill., 194 Antonia (Godmilow and Collins), 365 Antonio, Emile de, 365, 393 approach: alternatives in, 74; backers and, 26–28; in City of Gold, 73; corporate films and, 359–60; and editing, 208–11;historicaldocumentariesand, 315–18; lack of, 71–72; in proposals, 36–38, 49–50; and shaping the film, 65–69; style and form of, 37–38 Apted, Michael, 71, 191 archival material, 58–59, 135–36, 208, 302–5, 320–23, 349–50, 393–94 Armitage, Simon, 78–81 atmosphere, 241–43, 260–61 audience, 25–26, 39, 166, 221–22, 238, 247, 314, 358 authenticity, 197, 286–87, 297–99, 320–21, 390–91 automobile accident film, 100–101, 103– 4, 216–17 Barron, Arthur, 43–44, 77–78 BBC (British Broadcasting Corporation ), 98, 299–300, 367–69 Because We Care (Rosenthal), 74–75 Berkeley in the Sixties (Kitchell), 85–87 Berkeley Rebels, The (Barron), 43–44, 77–78 Berliner, Alan, 330, 337 Berton, Pierre, 73, 234, 252 Best Boy (Wohl), 120–21, 277, 330 Bigamists, The (Piotrowska), 7 ill., 82, 111–12, 227, 229, 233, 239–40 Big Enough (Krawitz), 1–2 ill., 50–55 Blasphemers’ Banquet, The (Harrison and Symes), 78, 231–32 Brayne, William, 196 BritishBroadcastingCorporation(BBC), 98, 299–300, 367–69 British commercial television, 366–67 Brown, Jim, 68 Browne, Steven E., 206 Buckner, Noel, 316 budgets, 28–29, 39, 357, 375–76. See also production budgets Note: Italicized page numbers followed by “ill.” indicate illustrations that follow page 192. Index 410 Burke, James, 81, 98–100, 230–31, 240, 248, 253–56 Burns, Ken, 220, 311, 316, 318 Burns, Rick, 210 Butch Cassidy and the Sundance Kid (Goldman), 120 buyout arrangement, 134 cable television, 365, 369 camerapersons, 15, 148–54, 172–76, 184, 199, 266 cameras, use of, 166, 273. See also shooting Cannibal Tours, 9 ill. case-study films, 66 Cathy Come Home (Ralling), 290–91, 297–300 Cawston, Richard, 72–73 Certain Knowledge, A (Rosenthal), 106–7 CGI (computer graphic imaging) effects, 134, 143, 323 Chair, The (Pennebaker and Leacock), 70, 98, 120–21 characters: amalgamated, 294–95; for cinema verité, 285; in corporate films, 358; in docudramas, 299; the editor and, 209; fictitious, 295; in first draft shooting script, 95; in Invasion, 309–10; in proposal for Big Enough, 52–53; self-portrayals, 296–97; spread of, 294–95; in topic-driven films, 66–68 Checkpoint (Israeli film), 285 Chevalier, Haakon, 113–14 chutzpah, 393–94 cinema verité: costs of, 276–77; criticisms of, 284; editing process, 281–82; elements of, 275–76; and ethics, 390; family films and, 329; in film school curricula, 2–3; ground rules, 282–84; guide to, 278; HBO and, 366; and lack of scripts, 395; monologues in, 182–83; and scripts, 14–15; shooting difficulties, 276–81; shooting ratios for, 133 Citron, Michelle, 330, 336 City of Gold (Low, Koenig, and Kroitor), 4 ill., 73, 211, 234, 250–53 Civil War series (Burns), 311, 318 Cleese, John, 359 clichés, 246–47, 336 climax, 118–22 Coffee Shop (student), 272 Cohen, Maxi, 330, 337 Columbus and the Age of Discovery (DorNer ), 311 commemorative series, 311 commentary, 90–92. See also narration commercial networks, 365–69 confessional films, 341–42 Connection, The (Carlton TV), 390 Connections (Burke), 81, 98–100, 230–31, 240, 253–56 Coolidge, Martha, 329–30 coproducers, 137, 144–45 copyright issues, 208, 274 corporate films, 356. See also industrial films corporate-image films, 353–54 Corporation for Public Broadcasting, 378 Cosmos (Sagan), 77 costs. See budgets; production budgets Cowboy del Amour (Ohayon), 5 ill., 182– 83, 278 credibility, 297–99, 390–91. See also authenticity credits, 264–65 crews: costs of, for cinema verité, 277; and decision-making process, 170; and equipment selection, 153–54; human dynamics of, 200–201; in production budget, 134; and scripts, 15; selection of, 148–52; and shooting abroad, 159–60; for student exercises, 273; union, 134, 149 Crisis: Behind a Presidential Commitment (Pennebaker), 280–81, 284 Crisis on Wheels (Hood), 83–85 Crittenden, Roger, 205–6 Cry for Help, A (Stoney...
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