Practice for the real thing.

As there is going to be a great deal of emphasis on the quality of interviews being conducted for this project, from a technical aspect to quality of individuals responses I have been conducting interviews as part of my Personal Research Project, following some of the guidelines outlined in Rabiger's Directing the Documentary.

This is discussed in a great level of detail, beginning with the philosophy of camera placement:

"There are two approaches to camera placement when you are filming interviews, each reflecting a quite different philosophy of the interviewers function." Rabiger goes on to explain his belief that an 'off-axis' interview proves to be redundant unless the interviewer has a significant contribution, adding also that it is his personal belief that this is often the result of an interviewer who wishes to appear within the film.

After reading this, and having difficulty relating to Rabiger's justifications, I decided to reseach from another source regarding the off-axis interview. I recalled some of my early research on Cinematography from the Focal Press Publication Cinematography: Theory and Practice, where the author argued that within films, it is a golden rule for the subject not to look at the Camera: it was referred to as 'breaking the third wall'. The traditional off-axis approach is to be my preference: if doing so, it is fundamental that I alternate the direction the interviewees will be facing.

An accessible explanation of the off-axis approach can be found here.

Expanding on resources

As I will be proposing the structure of the documentary in detail very soon, I need to confirm what resources will definitely be available so as to not promise anything i'm unable to deliver.

Today I emailed Dónal to see if I would be able to access photos or videos of Rory as a child for the project. I will document the discussion in further detail once I have recieved a reply.

Finding the right fan

After a discussion with my tutor, we both agreed it would be great to have the angle of a fan included in the documentary. I have emailed John Ganjamie, the webmaster of the Rory Gallagher Fansite RoryOn, asking if he could suggest a fan who would be willing to contribute towards the project, ideally between the ages of 17-35.

John has also agreed to assess the content of the product, which will prove valuable during evaluation stages.

Creating a Treatment

While Rabiger's book on Directing the Documentary is comprehensive in most areas, it has limited information on the creation of treatments for a documentary film. The book focuses on do's and don'ts for treatments, and alot of information in key bullet points, rather than discussing the subject in depth.

An introduction to documentary production discusses treatments in alot more detail - the book emphasises the need for detail in a treatment.

The treatment should be between 4-8 pages, and should contain an introductory synopsis and a detailed description of each section of the project. "There must be evidence of thorough research: names, locations, descriptions, actions and historic references which bring the content of the project to life."

The text also points out that all writing must be in the present tense, and that the opening sequence, transitions and conclusions should be "clearly and vividly articulated"

Another function for doing creating a highly detailed treatment is to "peg down your narrative structure", forcing the director to visualise the film in great detail before production takes place.

A Working Hypothesis - How to decide on a Concept

As I have progressed with my research into Creating a documentary, the book Introduction to Documentary Production has referred me back to one of my original points of reference: Directing the Documentary by Michael Rabiger:

"What will the film be about and what do you want to say in it? What is your point of view? How do you want to represent your subject and what story do you want to tell? You must have what Michael Rabiger, in his definitive text Directing the Documentary, calls a 'working hypothesis'."

A working hypothesis builds towards uncovering the statement that the film will produce. This starts by the director understanding their own point of view, and how this will be shown within the film. The document also raises the question of how the audience is to feel, and how the style is to be defined by the subject and point of view.

According to Rabiger, the working hypothesis is one of the first documents to be completed in order to understand the film - it is a document that makes the creator assess every aspect of the film to make sure each aspect is controlled and aimed in a specific direction for a specific purpose. Once the director understands their motivation, and how this will be expressed in the film - these findings can be translated into a proposal document, which will also include a documentary style treatment.

Background Research

Since choosing the subject of my Client Project, I have been familiarising myself on the subject via a number of different areas. This entry concentrates and details research undertaken on the subject, while entries to follow will illustrate research in the direction of the format, and the techniques and background knowledge required to create a successful product.

Specifically covering Rory, there are currently 2 books in existence:

Rory Gallagher: A Biography by Jean-Noël Coghe, and Riding Shotgun: 35 Years on the Road with Rory Gallagher and "Nine Below Zero" by Gerry McAvoy.

Jean-Noël Coghe is a French music journalist, and has also written publications on other guitarists including Jimi Hendrix. The book has been translated from it's native language and while it doesn't provide depth, it does cover Rory's entire career.

Gerry McAvoy was Rory's Bass player for most of Rory's career. The book accounts for Gerry's recollection of events, which also include illustrating what is was like to tour in Belfast at the time they did. As I am unlikely at this stage to be able to meet and interview Gerry, I have not studied this book.

Other Sources

Fortunately, there are many other sources which cover Rory in alot of detail. Radio Producer Marcus Connaughton, who I will be meeting at a later date, presented a 6 part radio show on Rory Gallagher. Although the show was aired last year, I was able to recieve a copy to study from Marcus. The show covers the years before Rory's career, the supergroup Taste, Rory's band and some interesting quirks many people may not have been aware of.

I also contacted Dino McGartland, who pointed me in the direction of his interviews. Dino is an avid Rory fan, who saw Rory play in Belfast - this would provide a good angle in my project. Dino is more than happy to be interviewed, however I am unsure if I am able to visit him in Belfast due to my own constraints. Dino also interviews Donal, Rory's brother who I intend to meet in Cork, Ireland.


Many of Rory's concerts are available on DVD. I have studied these concerts as part of my research, as well as familiarised myself with many of his records, including earlier recordings with supergroup Taste.

Big Guns

While more Client Project research will be added at a later stage, I found this album review for Big Guns: The Very Best of Rory Gallagher and found it to provide a great point of view on Rory's music and one that I strongly agree with. The article can be found here.

More Networking...

Before proceeding to Cork City, I wanted to contact Rory’s brother Donal, so he would be aware of me making this documentary. Found an interview with Donal at RoryOn.com and emailed the webmaster for suggestions for contacting Donal.

Contacted Cork Festival, as one of the producers is listed as Donal Gallagher – different person however.

Made a directory enquires list of numbers in County Cork for Donal Gallagher, none of them the correct Donal.

Received reply from webmaster – he has donal’s details but does not give them out without Donal’s permission. Was given Donal’s email address and was told to supply phone number and project outline - Donal will call to discuss project.

Received telephone call from Donal, who will be in Cork when I travel there, but is likely to return the day before I arrive! Donal requested another email with project details.

A lesson in networking

For a while, I would attempt to contact individuals I wished to speak to and get nowhere; recently i've managed to break that wall. I met Barry Barnes, who is the lead singer and guitarist for the Rory Gallagher Tribute band Sinnerboy. They are considered by many, including Rory's brother Donal to be the best Rory tribute band in the world.

I also placed an advert in the Irish Examiner, and the Cork evening Echo regarding my documentary, along with the time I will be in Cork. Maurice Gubbins of the Irish Examiner recommended trying to speak to Marcus Connaughton of the National Broadcaster RTÉ. I have emailed Marcus, and left a voicemail message with my contact details.