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Interviews > Interviews - Pg. 68

Interviews Chapter 2 describes the basics of good camcorder footage. Well, in an interview situation, the same tips apply. Lighting is important: avoid having the brightest light behind the subject's head. Sound is critical: fasten a tie-clip microphone to your subject's lapel or collar. Above all, use a tripod. You'll be glad you did, not only because the picture will be stable, thus permitting the audience to get more "into" the subject's world, but also for your own sake. Even the lightest camcorder is a drag to hold absolutely motionless for more than fve minutes. But interviews offer some additional challenges. If you've ever studied interviews on TV, such as the 60 Minutes interviews that have aired every Sunday night since 1968, you realize that the producers have always thought through these questions: ·What'sthepurposeoftheinterview? The answer affects how you shoot the scene. On 60 Minutes, the purpose is often to demonstrate how guilty or shifty the subject is. Bright lights and a black background help to create this impression, as do the ultra-closeups favored by the 60 Minutes crew, in which the camera is zoomed in so tight that the pores on the subject's nose look like the craters on Mars. In interviews that aren't designed to be especially incriminating, however, the purpose of the interview is often to get to know the subject better. The setting