Lucy Walker Talks Storytelling Through Documentaries: ‘It’s Difficult, You’re Asking People to Share Their Secrets’

As a seasoned movie buff with a penchant for documentaries and a soft spot for British directors, I find Lucy Walker to be a true maestro of the genre. Her approach to storytelling is as captivating as it is thought-provoking, and her dedication to her craft is nothing short of inspiring.

Realizing the exceptional talent of British director Lucy Walker, not only as a filmmaker but also as a champion for documentaries, Shekhar Kapur swiftly organized an extra workshop on Saturday during the International Film Festival of India, where he serves as the festival director. He personally conducted this session.

During their discussion, they explored topics spanning technology, methodology, and the ethical obligations of a filmmaker toward their subject. More specifically, they delved into strategies for discovering a compelling narrative.

During the phase of editing with physical film, Walker noted that when she attended film school, digital editing emerged and revolutionized the field. “Now, you could construct stories in the editing room and write parts of it afterward. However, you still need to select quality ingredients for your story. But I felt that the tools provided more flexibility, enabling you to craft a compelling movie that viewers would find truly engaging, even if the direction wasn’t clear at first. It’s thrilling to let life act as your collaborator. It also carries a level of risk, similar to walking on a tightrope.

At times, it seems as if I’m peeking into life, like a quiet observer, catching moments as they unfold, much like capturing life on film, and subsequently sharing these experiences with others, according to Walker.

But Walker denied that documentary is free-form or can escape the necessities of storytelling.

“Having a beginning, middle and end is really important in documentary. I’m always thinking about those ingredients even if I don’t know what the end will be,” she said. “For example, I’ve made two films now about climbing a mountain. At the beginning, when you go to climb a mountain, you don’t know if it’s a difficult mountain, like Mount Everest in my recent film [‘Mountain Queen: The Summits of Lakhpa Sherpa’], or in my first mountain film, where I was making a film about blind people climbing [2006’s ‘Blindsight’]. We didn’t know if they would get to the top, if someone might get hurt, we didn’t know what was going to happen. But I did know that I wanted to know.”

Kapur inquired about the task of guiding a group of twelve visually impaired individuals through a challenging ascent. However, her response also showcased her skill in narration.

Occasionally, it may seem like creating documentaries is effortless to some, given that scripted films involve actors, sets, costumes, and so forth. However, the truth is, both types of productions present unique challenges. Documentaries are particularly tough because subjects are real individuals, exposing their lives and often their deepest secrets. I’ve found myself in intimate and at times terrifying moments with people, like during my work on Everest. Additionally, I’ve also filmed people receiving medical results that could potentially mean a terminal diagnosis.

On her voyage, Walker often encountered diverse responses and a narrative unlike the one she had initially envisioned.

In the novel ‘Blindsight’, intriguing questions began to surface and take shape. For instance, what motivates the American character to climb the mountain? The Tibetan community circumambulates mountains, cherishing their beauty from below. They don’t feel compelled to reach the summit. Instead, one might wonder why some Americans seem determined to risk their lives in such a pursuit. A unique perspective came from the German teacher of blind students. She expressed, “I don’t want to stand on top; I just want to enjoy our time together.

Occasionally, a tale may hold an extra layer of significance. Yet, if events unfold unexpectedly in the film production process, it might cause a slight sense of apprehension among the financial backers.

In “Mountain Queen”, part of her assuming responsibility meant recognizing when it was best to step aside and avoid being a hindrance to the climbers or causing any mishaps. Consequently, she assigned tasks and instructed the sherpas on how to operate cameras.

Collaboration is crucial, it’s not something you can do alone,” she pointed out. Whether she was referring to climbing or movie-making wasn’t quite clear.

2024-11-24 13:16

Lucy Walker Talks Storytelling Through Documentaries: ‘It’s Difficult, You’re Asking People to Share Their Secrets’

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