Executive producer is what you would say. In general terms it should go like this – producer’s title is higher than director, producer of photography then director of photography then cinematographer, director of photography, director of photography, director of photography. There are directors of photography that I’ve worked with over the years, so I have some experience of working with them. I’d say it’s pretty rare for someone to have to go through the process of being an Executive Producer of a documentary and working with people who have been around for a long time. I just know how much it’s a daunting task and it’s a much more collaborative process to do it the traditional way, which is to say you’re working with an executive producer or someone who’s already kind of an executive producer of the film, and then working with the people who actually produced the documentary with you.
How did you become interested in making documentaries in the first place?
I think I grew up doing a lot of photography. I was always fascinated with photography and I really like the idea of creating photographs and getting your photographs out there and seeing things and getting the story out there. I think as long as I can capture something that I love, I’ll keep doing it.
If you were to ever make a documentary again, would you do it differently?
I would do things differently. I would do them differently and I would do them in a way that I had experience at that time of creating the film. I’d put more focus on getting the photograph into the film, but also having a greater emphasis on the storytelling that was being done in the film.
What were some of the most challenging or rewarding moments you had on the film?
I think the most difficult thing for me in doing any documentary is when you’re shooting a film and you have to get a camera ready and you’re looking at it and you’re like, I have to have this camera right next to me or on the other side of it, you just think ‘Oh, my God. I can’t make this film without a camera!’ And it really is overwhelming, because you’re constantly thinking about your camera. There’s so much involved with capturing the moments and people that aren’t necessarily represented on the film, and there’s so much involved in making sure that, as the film is made, as the film is made, as the film is released, the information that you’re creating within the film is as useful as possible for the audience. So I
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