The Syrian refugee crisis has created tragic consequences. As you follow the news about this topic, you learn that Lesbos, Greece is the principal landing point for many refugees who are trying to get to Europe from the Middle East. This gives you an idea for a documentary about refugees that you are certain will make for a great film. To begin pre-production, you decide to:
[[Go to the region you are interested in, speak to people and just explore.|Start talking with people]]
[[Go to the region with a camera and prepare to film as part of your research. Plan on documenting everything you can.|Start shooting]]
[[Stay at home and research the topic as well as funding and distribution options.|Stay home and research]]
You pay for your own travel and arrive in Lesbos. You take a taxi to a youth hostel and ask the desk clerk for information about where some of the refugees might be found.
[[Tell the desk clerk that this is because you are making a documentary about refugees.|You do reveal you are a documentarian]]
[[Tell the desk clerk that you are looking for relatives of yours who might be among the refugees, and don't say anything about your documentary.|You don't reveal you are a documentarian]]
You pay for your own travel and arrive in Lesbos. You bring a camera and sound recording gear, prepared to record as much as possible during preliminary research and development of the project.
You walk around the city and document everything -- often in long shots, but always surreptitiously. You get some good footage of how local businesses are treating refugees. One day, the owner of a local fish store spots you filming him giving fish scraps to some refugees. He asks what you are doing.
[[Tell him that you are working on a documentary about climate change and the Greek fishing industry.|shopkeeper is friendly]]
[[Tell him the truth, that you are working on a documentary about refugees.|shopkeeper is unfriendly]]
With your crew, you arrive (if: (history:) contains "Start talking with people")[back](else-if: (history:) contains "Start shooting")[back] on the Greek Island of Lesbos, ready to begin production.
(if: (history:) contains "Start shooting")[Your first move is to return and speak with the fish seller you met during your earlier visit.(if: (history:) contains "shopkeeper is unfriendly")[ Although he didn't want to talk with you before, it can't hurt to come back and see if he has changed his mind.
When you arrive at his shop, he recognizes you. He is hesitant, but not as unfriendly as before. "The truth is," he says, "I pity these people, and I've been thinking that maybe I should try to do more to help them."
He agrees to let you film him, and you return with your crew the next day. You end up getting an excellent interview, and afterwards, he introduces you to other shopkeepers in the area. They allow you to record them giving their own perspectives on the refugees. You feel like you've gotten some really good footage here.](if: (history:) contains "shopkeeper is friendly")[ He is glad to see you and says he is ready to talk about the Greek fishing industry. When you set up and begin recording, however, he realizes that all of your questions are about refugees.
"Why are you asking these questions? I don't want to talk about the refugees!" he shouts. He gets up abruptly and walks away.]
Now what?
[[You decide to go back to the refugee camp you visited on your research trip, and speak with the refugees you met there.|return to refugee camp man]]](if: (history:) contains "Start talking with people")[[[You decide to go back to the refugee camp you visited on your research trip, and talk with the refugees you met there.|return to refugee camp woman]]]
[[Tell your producer to find a refugee camp by explaining to people that you are making a documentary about refugees.|new refugee camp]]
[[Tell your producer to try to find a refugee camp without revealing the nature of your documentary. She should explain to people that you are looking for a relative among the refugees.|new refugee camp 2 - after lying]](unless: (history:) contains "You don't reveal you are a documentarian")[The desk clerk at the hostel directs you to a refugee camp nearby. He tells you about a family he met there, and suggests that this family might be willing to speak with you. The desk clerk describes what the father and mother look like and how to find them. You take notes on this conversation, including his contact info, thank him, and head to the camp.
At the refugee camp, you locate the family and approach them cautiously. ]The young woman, a mother of two whose name is Rima, agrees to speak with you. She says her family has had difficulties at the camp, but she is reluctant to speak openly about them. You ask if the family would be willing to talk with you on camera. Rima is noncommittal, but agrees to meet with you when you return to make the documentary. She gives you their cell phone number.
You walk around the camp, taking careful notes on what you see and hear. You learn a great deal from your interaction with the refugees, and you feel satisfied that your research here has been worthwhile.
[[Return home to do more research and raise the funds you need for production.|Stay home and research]]
[[Return home and go straight to the World Refugee Organization, an organization that works on refugee resettlement, to see if they will give you funding.|meeting with the WRO]]
You begin by researching the topic. You scour the web, and study books and news articles. You watch as many movies and documentaries on the topics of refugees, immigration, and the Middle East as you can find.
As you do this research, an idea takes shape in your head. You write a documentary proposal, which contains a treatment, a budget, a clear timeline for production, who the target audience is, and how you plan to distribute the completed documentary.
You show this project proposal to your mentors and other filmmakers, incorporating their feedback into your proposal. You also show it to a cinematographer and a sound person who you like and trust. Both are eager to get to work with you on to the project.
You explore grants and other kinds of financing that might support your new project. You arrive at three options:
[[Self fund the documentary, using your savings, money from friends and family, and crowdfunding.|self-funding]]
[[Contact the EDGE Channel, whose EDGE Documentary TV series covers topics "with an edge."|meeting with EDGE]]
[[Contact the office of the World Refugee Organization, an organization that helps refugees.|meeting with the WRO]]You have a little bit of money in your savings, but it's not much, so you decide to create a crowdfunding campaign. Which of the following strategies do you choose?
[[Your campaign is designed to impress people. Claim that this will be an incredibly successful documentary about the refugee crisis that will be screened world-wide. Promise that all backers will receive producer credit and a percentage of the profits.|Raise more than your funding goal]]
[[Your campaign tells people that you feel strongly about the necessity of making a documentary about the refugee crisis. Create rewards at various levels for backers, including acknowledging them in the film's credits and giving them a copy of the finished project.|Raise your funding goal]]
[[Your campaign tells people that you are making an important documentary that they should support so they can be a part of advancing your career. Do not share the content since it might not appeal to all potential funders, and do not promise anything in return.|Raise less than your funding goal]]You pitch the idea to the President, Vice President, and Director of Documentary Programming at EDGE. They are very interested in the project, which they believe will be an excellent fit for the EDGE brand.
"You know that our channel is about immersive journalism," says the company president. "This means that our directors and producers get deeply involved in the story. They're risk-takers who don't just cover the story, they //live// it, get the //real// inside scoop."
They tell you that they will fund your entire production budget, provided that you agree to sign their standard contract. The contract requires that you work with an EDGE producer, cinematographer and sound recordist. The contract also stipulates that EDGE retains the right to determine the final cut of the documentary.
[[Agree and sign the contract. This is the best way to obtain funding immediately.|sign on with EDGE]]
[[Negotiate. Agree to work with their producer, but insist on working with your cinematographer and sound recordist. Also tell them that you must retain control over the final cut. Based on the research you've done, you will know what's in the best interest of the topic.|negotiate contract changes]]
[[Decide not to work with EDGE.|Tell EDGE no]]You pitch the idea to the team at the World Refugee Organization. They are very interested before they've even read your proposal, and offer to give you funding if you sign their contract.
[[Great! Accept their funding and sign the contract.|make deal with WRO]]
[[Thank them, but clarify what making a project under the auspices of the WRO might entail, and get more information about the contract terms.|WRO tells terms]]
[[Thank them, but ask that they read your proposal and discuss it fully, because you'd like to get their input on the topic.|WRO agrees to call you]]
Your campaign strategy seems to have paid off! You raised $10,000 more than your goal, which will definitely pay for production! Now what?
(unless: (history:) contains "meeting with EDGE")[[[Try to raise even more money by going to the EDGE Channel.|meeting with EDGE]]]
(unless: (history:) contains "meeting with the WRO")[[[Try to raise even more money by going to the World Refugee Organization.|meeting with the WRO]]]
[[Assemble your team, fly to Greece, and begin production.|begin production]]
Congratulations, your crowd funding campaign reached it's goal! You have enough money to begin production.
[[Assemble your team, fly to Greece and begin production.|begin production]]
(unless: (history:) contains "meeting with EDGE")[[[Try to raise more money by meeting with the EDGE Channel.|meeting with EDGE]]]
(unless: (history:) contains "meeting with the WRO")[[[Try to raise more money by meeting with the World Refugee Organization.|meeting with the WRO]]]Unfortunately, not enough people seem interested in funding your crowdfunding campaign, so you didn't reach your funding goal, and you didn't receive any money.
Now what?
(unless: (history:) contains "meeting with EDGE")[[[Try going to EDGE for funding.|meeting with EDGE]]]
(unless: (history:) contains "meeting with the WRO")[[[Try raising money from the WRO.|meeting with the WRO]]]
(if: (history:) contains "make deal with WRO")[[[Begin production with the money you've already raised.|begin production]]](else-if: (history:) contains "sign on with EDGE")[[[Begin production with the money you've already raised.|begin production]]](else-if: (history:) contains "negotiate contract changes")[[[Begin production with the money you've already raised.|begin production]]](else:)[[[Decide to start production with just the small amount of money in your own savings.|begin production without funding]]]
You sign the contract and shake hands with your new partners. (if: (history:) contains "Stay home and research")[You call the cinematographer and sound person who had agreed to work on the project, and break the bad news to them. They are both pretty disappointed, and say they will think twice about working with you again. Still, you've got your funding.]
Now what?
(unless: (history:) contains "meeting with the WRO")[[[Try to raise even more money by meeting with the World Refugee Organization.|meeting with the WRO]]]
(unless: (history:) contains "self-funding")[[[Try to raise even more money through self-funding.|self-funding]]]
[[Go through pre-production with your new producer and crew, and begin making your documentary.|begin production]]
You suggest the changes you want to the EDGE standard contract. The three executives confer and decide that they will allow you to have final cut and your own crew, as long as you still bring their producer with you. You meet with your new producer, Jen, and she seems very capable. You sign the contract.
Now what?
(unless: (history:) contains "meeting with the WRO")[[[Try to raise even more money by meeting with the World Refugee Organization.|meeting with the WRO]]]
(unless: (history:) contains "self-funding")[[[Try to raise even more money through self funding.|self-funding]]]
[[Assemble your team and fly to Greece to begin filming.|begin production]]"Of course," says the head of the committee. "The key thing here is that your documentary should not say anything negative about the work of the World Refugee Organization. I don't think that should be a problem, though, given all of the great work we are doing to help refugees. The contract also states that we'd like to be able to use your footage to create a promotional piece about our organization."
This doesn't sound like a bad deal. Should you agree?
[[Yes, I'll sign the contract and take the money. The WRO does good work.|make deal with WRO]]
[[While the World Refugee Organization does good work, I'd rather not place restrictions on my ability to show what's happening in the refugee crisis.|don't deal with WRO]]The people on the committee agree to read your proposal and get back to you to discuss it once they've had time to do so. You wait a few weeks, and then you finally receive a call from the Chair of the committee.
"After reading your proposal, we're a little concerned that your documentary may not portray the World Refugee Organization in a positive light," she tells you.
"Well, I certainly hope that it will," you say.
"We understand, but without being assured of that, we simply can't fund your project. If, however," she continues, "we get a chance to see your rough cut and we like how the documentary is turning out, we might be willing to put in funding in post-production."
What should you do?
[[Convince them that you will not put anything in your documentary that would portray the WRO in a negative way, and sign the contract.|make deal with WRO]]
[[Thank them for their time, and let them know you will be happy to come back and speak with them again when you have a rough cut.|don't deal with WRO]]
You agree to sign the World Refugee Organization's contract and accept their support. The amount they are contributing seems like it should be enough to get you through production. What should you do now?
(unless: (history:) contains "self-funding")[[[Try to raise even more money through crowdfunding.|self-funding]]]
(unless: (history:) contains "meeting with EDGE")[[[Try to raise even more money by meeting with EDGE.|meeting with EDGE]]]
[[Assemble your team, fly to Greece, and begin production.|begin production]]You thank the committee very much for their time, but you decide to make your documentary without their participation. It's better not to risk a conflict of interest.
What should you do now?
(unless: (history:) contains "meeting with EDGE")[[[Try to raise money by meeting with EDGE.|meeting with EDGE]]]
(unless: (history:) contains "self-funding")[[[Try to raise money through crowdfunding.|self-funding]]]
(if: (history:) contains "sign on with EDGE")[[[Begin production with the funds you've already raised.|begin production]]](else-if: (history:) contains "negotiate contract changes")[[[Begin production with the funds you've already raised.|begin production]]](else-if: (history:) contains "Raise more than your funding goal")[[[Begin production with the funds you've already raised.|begin production]]](else-if: (history:) contains "Raise your funding goal")[[[Begin production with the funds you've already raised.|begin production]]](else:)[[[Decide to start production with the small amount of money you have in your own savings.|begin production without funding]]]You thank all of these very important people for their time, but tell them that this doesn't sound like the right situation for you. They say that they understand, and that you should come back when you have a rough cut. Perhaps they will give you completion funding.
Now what?
(unless: (history:) contains "self-funding")[[[Try to raise money through self funding.|self-funding]]]
(unless: (history:) contains "meeting with the WRO")[[[Try to raise money from the World Refugee Organization.|meeting with the WRO]]]
(if: (history:) contains "make deal with WRO")[[[Begin production with the funds you've already raised.|begin production]]](else-if: (history:) contains "Raise more than your funding goal")[[[Begin production with the funds you've already raised.|begin production]]](else-if: (history:) contains "Raise your funding goal")[[[Begin production with the money you've already raised.|begin production]]](else:)[[[Decide to start production with the small amount of money from your own savings.|begin production without funding]]]
The shopkeeper says that he would be happy to talk with you about the fishing industry. You tell him that you plan to return to the island in a few months to begin filming, and write down his contact information.
Later that evening, you sneak into a refugee camp, disguised as a refugee. You hide your camera in your shoulder bag. You continue to film surreptitiously, focusing on one or two families in particular, but avoid making contact with them.
With twenty hours of recorded footage, you are ready to return home and consider next steps. You are packing up your camera when a young man approaches you. He is the father in one of the refugee families that you have been filming. He asks who you are and why you have been filming them without their permission.
[[Tell him that you are a documentary filmmaker making a film about refugees. Openly share that you plan on returning to continue the project.|tell refugees truth]]
[[Tell him that you are a refugee, and you've been filming your own experiences so that you'll have a story to share with your grandchildren some day.|tell refugees lie]]
The shopkeeper says that he doesn't want you filming around his store, and he is not interested in talking to you about the refugee crisis. You give him your card anyway, but he shoves it in his pocket and tells you to go away.
One day, you sneak into a refugee camp, disguised as a refugee, with a camera hidden in your shoulder bag. You continue to film surreptitiously, focusing on one or two families in particular, but avoid making contact with them.
With twenty hours of recorded footage, you are ready to return home and consider next steps. You are packing up your camera when a young man approaches you. He is the father in one of the refugee families that you have been filming. He asks who you are and why you have been filming them without their permission.
[[Tell him that you are a documentary filmmaker making a film about refugees. Openly share that you plan on returning to continue the project.|tell refugees truth]]
[[Tell him that you are a refugee, and you've been filming your own experiences so that you'll have a story to share with your grandchildren some day.|tell refugees lie]]You tell the man that you are making a documentary about refugees, and that you are here doing research.
The man says that he and his family have a very difficult story. They were separated from his 12-year-old son when they first landed in Greece and were being pursued by police. He tells you his name is Elias, and after you talk for a while, he agrees to speak with you when you return to begin making your documentary. He gives you his cell phone number.
[[Pack your things and return home to do more research and raise money.|Stay home and research]]
[[Pack your things, return home, and go straight to the EDGE Channel's Documentary division to ask for funding. You've seen their edgy documentaries and it seems like yours might be a good fit.|meeting with EDGE]]You tell the man that you are a refugee, and you've just been recording your experiences to show your family one day. The man says he doesn't believe you because of your perfect English and your American accent -- it turns out that he was a college professor in Syria and is quite educated. He tells you to leave him and his family alone, they have enough problems. You try to keep talking with him but he walks away.
[[Pack your things and return home to do more research and raise money.|Stay home and research]]
[[Pack your things, return home, and go straight to the EDGE Channel's Documentary division to ask for funding. You've seen their edgy documentaries and it seems like yours might be a good fit.|meeting with EDGE]]The clerk is suspicious and doesn't want to tell you anything. You decide to search for the refugee camp on your own.
You wander around all day until, finally, you find a refugee camp. You continue to pretend that you are looking for your family, using this as a way of starting conversations with the refugees. You approach a group of women sitting in a circle and begin talking with them. When they see you taking notes, they grow suspicious.
"Why are you taking notes if you're just looking for your family?" asks one young woman. "I think you're a spy for the government, trying to find reasons to have us deported!"
Everyone else, hearing this exchange, refuses to talk with you.
What now?
[[This research hasn't paid off, so it's time to pack up and go home. Do research there, and raise money to return.|Stay home and research]]
[[Reveal to this woman that you are actually making a documentary.|You do reveal you are a documentarian]]You arrive at the refugee camp(unless: (history:) contains "find Elias")[(if: (history:) contains "tell refugees truth")[, the same one you visited when you were doing research. You look for Elias, the man you spoke with whose young son is missing, but he and his family are not there. People tell you that they have left, and nobody seems to know where they have gone. They are suspicious of you, because they saw you talking with him soon before he and his family disappeared]]. Then your producer points a man playing ball with two boys in the yard, who seem to be having fun. Your cinematographer starts filming them. When they notice you, you and your producer approach them. You introduce yourselves, and explain that you are making a documentary.
The father nods enthusiastically, pointing to the camera. He doesn't speak very good English, but after a moment, you realize that he is asking for something. "I think he wants money to do the interview," says Andrew, your sound person, who speaks a little Arabic.
You turn to your producer. (if: (history:) contains "sign on with EDGE")[Jen says, "We have the money. I don't have a problem with it."](else:)[She says, "I know PBS frowns on that."]
[[Ask why they want money, is it for something you can help them with?|money for antibiotics]]
[[Agree to pay them money, they seem like they have a good story to tell.|pay subjects]]
(if: (history:) contains "tell refugees truth")[(unless: (history:) contains "go find Elias")[[[You remember that you have Elias' phone number. Call him, so that you don't have to deal with this issue at all.|find Elias]]]]
You bring your crew back to the camp where you previously did research. The refugees look at you suspiciously. (if: (history:) contains "You do reveal you are a documentarian")[Then people remember that you are the one who is making the documentary. They allow you to film with them, but you still can't find Rima, the woman you spoke with the last time you were here. The other residents of the camp say that she and her family moved to a different camp. You try her cell phone, reach her, and she tells you where she is.](else:)[Nobody is willing to talk with you. They seem upset that you didn't tell them last time that you were there to make a film.]
Then your producer points a man playing ball with two boys in the yard, who seem to be having fun. Your cinematographer starts filming them. When they notice you, you and your producer approach them. You introduce yourselves, and explain that you are making a documentary.
The father nods enthusiastically, pointing to the camera. He doesn't speak very good English, but after a moment, you realize that he is asking for something. "I think he wants money to do the interview," says Andrew, your sound person, who speaks a little Arabic.
You turn to your producer. (if: (history:) contains "sign on with EDGE")[Jen says, "We have the money. I don't have a problem with it."](else-if: (history:) contains "negotiate contract changes")[Jen says, "We have the money. I don't have a problem with it."](else:)[She says, "I know PBS frowns on that."]
[[Ask why they want money, is it for something you can help them with?|money for antibiotics]]
[[Agree to pay them money, they seem like they have a good story to tell.|pay subjects]]
(if: (history:) contains "You do reveal you are a documentarian")[[[Avoid this issue altogether by going to the camp where Rima is now.|new refugee camp]]]
At the refugee camp, you wander around, filming b-roll, until you meet Rima and her family. (if: (history:) contains "You do reveal you are a documentarian")[She recognizes you and is pleased to see you. ]She explains that her family had to leave their last refugee camp because it was dangerous, but she is afraid to tell you why. She glances at her husband. His arm is in a sling and he has bruises on his face.
[[Discuss issues of privacy with Rima and her family. Explain that if she is afraid to appear on camera, you can blur her face to protect her identity.|Rima participates with face blurring]]
(if: (history:) contains "sign on with EDGE")[[[Your producer, Jen, says she can convince Rima to film with you, and that you should let her handle it. You agree, this will be best for the film.|Rima participates without face blurring]]](else-if: (history:) contains "negotiate contract changes")[[[Your producer, Jen, says she can convince Rima to film with you, and that you should let her handle it. You agree, this will be best for the film.|Rima participates without face blurring]]](else:)[[[You don't want to blur faces. How likely is it that Rima will really get hurt from your small documentary? Convince her that everything will be fine.|Rima participates without face blurring]]]
[[You tell Rima you cannot tell her what to do, it's her decision.|Rima films with you but then will not sign a release]]
You reach Elias on his cell phone. He is pleased to hear from you, and tells you that he and his family have been granted asylum. He says that he is on his way to meet his son, who has been found in another refugee camp. You ask if you can come and film the reunion, and he agrees.
You and your crew hurry to that refugee camp, where you arrive just in time to film the family being reunited. You capture a very touching scene. The family agrees to an on-camera interview, and a few days later, you return to film with them at their small apartment. The shoot goes well, and everyone on the crew feels that you've got some great footage. Your producer has the family sign releases, so you are all set.
What next?
(unless: (history:) contains "new refugee camp")[[[To find more stories to round out the documentary, tell your producer to find a new refugee camp by explaining to people that you are making a documentary about refugees.|new refugee camp]]]
(unless: (history:) contains "new refugee camp 2 - after lying")[[[To find more stories to round out the documentary, tell your producer to find a new refugee camp by explaining to people that you are looking for a lost relative.|new refugee camp 2 - after lying]]]
[[You have some good footage. It's time to go home and start post-production.|begin post]]You decide to start production with the small amount of money you have. You can't hire a crew or anyone to help you, you can just bring your own camera and microphone, buy a plane ticket with a credit card, and bring cash for a week's worth of food and lodging at a hostel. Unfortunately, your camera is stolen when you are changing planes in Athens. You couldn't afford to buy production insurance, so you decide to cut your losses, go home, and pay off your credit card debt.
Maybe some day you'll make a documentary about something else.
[[Want to try again?|try again]]Once you explain issues of privacy and how you can protect her safety, Rima agrees to participate as long as you blur her face to protect her identity. You set up to film a sit-down interview.
(if: (history:) contains "sign on with EDGE")[Your producer, Jen, says, "I don't think this background works. It isn't...visual enough."
She leaves and comes back in a minute with a pail of trash, and scatters it all over.
"There, that's better," says Jen. You have to admit, she's right: making the camp look dirtier works for dramatic effect. You feel a bit uncomfortable making these kinds of changes, though.
[[Keep things the way they are, it looks better.|camp guards throw you out]]
[[This is distorting the facts. Tell Jen to put everything back the way it was.|continue with interview]]](else-if: (history:) contains "negotiate contract changes")[Your producer, Jen, says, "I don't think this background works. It isn't...visual enough."
She leaves and comes back in a minute with a pail of trash , and scatters it all over.
"There, that's better," says Jen. You have to admit, she's right: making the camp look dirtier works for dramatic effect.
Stacy, your cinematographer, looks at you and Jen. "That's not right, you're making this place look a lot worse than it really is."
[[Keep things the way they are, it looks better.|camp guards throw you out]]
[[Stacy's right, this is distorting the facts. Tell Jen to put everything back the way it was.|continue with interview]]](else:)[You worry that this camp doesn't look so bad. Is anyone really going to feel sympathy for Rima if they see her living in a decent place? You go and find a pail of trash, and scatter it all over.
Stacy, your cinematographer, looks at you. "But that's not right, you're making this place look a lot worse than it really is."
"You should make it look bad!" says Rima. "The last camp I was in was so terrible. It's a disgrace the way they treat us!"
[[Keep things the way they are, it looks better.|camp guards throw you out]]
[[Stacy's right, this is distorting the facts. Put everything back the way it was.|continue with interview]]]After a long conversation(if: (history:) contains "sign on with EDGE")[with Jen], Rima is persuaded to participate without having her face blurred. You set up to do a sit-down interview with her.
(if: (history:) contains "sign on with EDGE")[Jen says, "I don't think this background works. It isn't...visual enough."
She leaves and comes back in a minute with a pail of trash. She scatters it all over.
"There, that's better," says Jen. You have to admit, she's right: making the camp look dirtier works for dramatic effect. You feel a bit uncomfortable making these kinds of changes, though.
(if: (history:) contains "negotiate contract changes")[Stacy, your cinematographer, looks at you. "But that's not right, you're making this place look a lot worse than it really is."]
[[Keep things the way they are, because it looks better.|camp guards throw you out]]
[[This is distorting the facts. Tell Jen to put everything back the way it was.|continue with interview]]](else:)[You worry that this camp doesn't look so bad. Is anyone really going to feel sympathy for Rima if they see her living in a decent place? You go and find a pail of trash. You scatter it all over.
Stacy, your cinematographer, looks at you. "But that's not right, you're making this place look a lot worse than it really is."
"You should make it look bad!" says Rima. "The last camp I was in was so terrible. It's a disgrace the way they treat us!"
[[Keep things the way they are, because it looks better.|camp guards throw you out]]
[[Stacy's right, this is distorting the facts. Put everything back the way it was.|continue with interview]]]Rima looks uncertain, but after talking with her family, she agrees. You set up your equipment to do a sit-down interview.
You start recording. Rima tells you she is from Homs, a city which has endured terrible bombings throughout the war. She and her husband decided to leave with their three children after many of their relatives were killed. Then, when they arrived at the refugee camp in Greece, something terrible happened...She trails off. You prompt her to continue. She looks at you, uncomfortable. She tells you about how one of the guards beat her husband severely. The guard has a reputation for beating refugees, but nobody has done anything about it. She breaks off abruptly, looking frightened.
"I'm sorry, but I cannot speak with you any more. I'm afraid we will be in danger if this man finds out what I've said about him." She gets up and walks away.
Your producer tries to get her and her family to sign releases, so that you can use the footage you've already shot, but they refuse.
"No, we cannot risk being sent back to Syria," says Rima. "I'm sorry."
"Can you at least tell us who this guard is, so that we can make sure he can't hurt anyone else?" you ask.
Rima hesitates, confers with her husband, and agrees to tell you. She describes the man in detail and tells you that his name is Stavros. You thank her, and say that you'll try to have him removed from the camp. (if: (history:) contains "sign on with EDGE")[Your producer Jen says, "And we should of course film that too. It could be very dramatic."]
You and your crew go to Rima's former refugee camp(if: (history:) contains "You return to refugee camp woman")[, where you were earlier that day]. Almost immediately, you see the man Rima has described, and hear someone call him "Stavros." Your cinematographer is about to start recording when her camera battery dies.
"We haven't had access to power all day so we haven't been able to charge batteries," she says, clearly frustrated.
(if: (history:) contains "sign on with EDGE")[Jen says, "We can't report the guard now if we can't film it, it's a golden opportunity to get something really exciting on camera."](if: (history:) contains "negotiate contract changes")[Jen says, "We can't report the guard now if we can't film it, it's a golden opportunity to get something really exciting on camera."]
What should you do?
[[Report the guard now anyway. You need to have him removed from the camp before he hurts anyone else.|report guard]]
[[Wait and report the guard tomorrow, so that you can film what happens.|wait until tomorrow to report guard]]You decide you want to keep your "art direction" the way it is, and you start filming. Rima is a very good subject, she is natural on camera and seems to have an important story. She is telling you about the difficult passage to Lesbos by boat when an administrator and a guard from the camp appear, and see what you have done to "dress the set."
"Why are you making our camp look like this?" says the administrator angrily. "I'm sorry, but you're going to have to leave."
You and your producer try to explain, but she stays firm. "We are proud of the work we are doing here. It's wrong of you to make us look as if we don't care about this camp and the people who stay here."
As you pack up, the guard stands by, waiting to escort you out. You try to arrange to continue the interview somewhere else, but Rima shakes her head.
"I can't," she says. "My family is doing well here and we don't want any more trouble." She says goodbye, and guard escorts your crew out of the camp.
Now what?
(unless: (history:) contains "new refugee camp 2 - after lying")[[[Tell your producer to try to find a refugee camp by explaining to people that you are looking for a relative, to keep your project secret.|new refugee camp 2 - after lying]]]
(unless: (history:) contains "return to refugee camp man")[[[Tell your producer to try to find a refugee camp by telling people that you are making a documentary.|return to refugee camp man]]]
(unless: (history:) contains "find Elias")[(if: (history:) contains "tell refugees truth")[[[You remember that you have the phone number for Elias, the refugee you met on your research trip. Call him.|find Elias]]]]
(if: (history:) contains "let Marwan decide")[[[Decide to return home and start post-production, since you know you have some good footage.|begin post]]](else-if: (history:) contains "find Elias")[[[Decide to return home and start post-production, since you know you have some good footage.|begin post]]](else:)[[[You're tired and you're ready to pack up and go home, even though you don't know if you have the footage to make a documentary.|begin post]]]
You put everything back the way it was, and start the interview. Rima tells you she is from Homs, a city which has endured terrible bombings throughout the war. She and her husband decided to leave with their three children after many of their relatives were killed. Then, when they arrived at the refugee camp in Greece, something terrible happened... She trails off, looking at her husband. She asks for a moment to talk to her husband alone. You tell her that's fine.
As she walks away with her husband, your sound person, Andrew, reminds you that she's still wearing a wireless microphone. He can hear their conversation, and he speaks a little Arabic. (if: (history:) contains "sign on with EDGE")[He can continue to record them and let you know what they're saying.]
[[Tell him to keep recording their conversation surreptitiously.|Rima quits the interview]]
[[Tell him that the couple clearly wants to have a private conversation, so he should stop recording.|Rima finishes the interview 2]]
[[Tell him to keep recording. You'll inform them afterwards that you were recording and might like to use their conversation.|Rima finishes the interview]]The father tells you through one of his sons, who speaks pretty good English, that his young daughter is ill and they need to buy antibiotics for her treatment. He points to the little girl lying in her mother's arms, and you can see that she is sick.
[[Agree to give them money for the antibiotics if they agree to do the interview.|pay subjects]]
[[Agree to obtain the antibiotics for them regardless, and make it clear that it's their choice whether to do the interview or not.|agree to get antibiotics]]
[[Tell them you are uncomfortable with this situation, so as much as you'd like to help, you cannot.|don't buy antibiotics]]
You and your producer decide to pay this family to be interviewed(if: (history:) contains "money for antibiotics")[ with antibiotics. She goes and buys the antibiotics from a local hospital and gives them to the family in advance of the interview.](else:)[. She negotiates a price and gives them the money up front.]
You sit down and begin the interview with the man. One of the sons, who speaks pretty good English, translates. In a melodramatic way, the man starts to tell you about how the family survived a bombing in their hometown only to be taken prisoner by rebels. He describes a death-defying escape, then how he built a boat himself to take his family to Greece. The boat capsized, and he saved not only his own family, but another family...
You start to realize that, while this is a great story, it's completely fabricated. You try to explain to the man that you want the //real// story, but he just smiles and says, "This is what happened. I'm just adding a few details to make it worth your while."
You realize that this isn't going to work. You thank the man and his son for their time and tell them they can keep the (if: (history:) contains "money for antibiotics")[antibiotics](else:)[money], but you will no longer be filming with them.
Now what?
(unless: (history:) contains "new refugee camp")[[[Tell your producer to find a new refugee camp by explaining to people that you are making a documentary about refugees.|new refugee camp]]
(if: (history:) contains "You do reveal you are a documentarian")[[[Avoid this issue altogether by going to the camp where Rima is now.|new refugee camp]]]](if: (history:) contains "tell refugees truth")[(unless: (history:) contains "find Elias")[[[You remember that you have the phone number for Elias, the refugee you met here before. Call him.|find Elias]]]]
(unless: (history:) contains "new refugee camp 2 - after lying")[[[Tell your producer to try to find a new refugee camp by explaining to people that you are looking for a relative, to keep your identity secret.|new refugee camp 2 - after lying]]]
(if: (history:) contains "Rima finishes the interview")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else-if: (history:) contains "Rima finishes the interview 2")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else-if: (history:) contains "find Elias")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else:)[[[You're tired and you're ready to pack up and go home, even though you don't know if you have the footage to make a documentary.|begin post]]]
You make clear to this family that you will help them obtain the medicine, because you want their daughter to get well. They thank you profusely, and the father agrees to sit down for an interview with his son translating.
You begin the interview, and the man, whose name is Marwan, starts to tell you his story. He says that he grew up in the city of Aleppo, where his father owned a small store. They made a decent living, which enabled him to marry his lovely wife and have four children. When the war started, the store was destroyed in a bomb blast, and they knew they would have to leave or starve. The passage from Syria was very difficult. They were traveling with his brother, who was in poor health.
At this point in the story, Marwan's words become halting. He looks as if he is about to cry. (if: (history:) contains "sign on with EDGE")[You hear your producer, Jen, lean over and whisper in your cinematographer's ear, "Zoom in!"](if: (history:) contains "negotiate contract changes")[You hear your producer, Jen, lean over and whisper in your cinematographer's ear, "Zoom in!" Stacy, your cinematographer, looks at you to see if this is really what you want to do.]
[[Ask Marwan if he's all right, and if he would like a minute to compose himself.|let Marwan decide]]
[[Offer Marwan some tissues, and indicate to your cinematographer that she should keep recording but not zoom in.|no zoom on crying]]
[[Whisper to your cinematographer to tell her that she should zoom in.|zoom in on crying]]The father looks very sad, but he says that he understands. He and his family walk away.
You seem to have exhausted all opportunities to film at this refugee camp. What should you do next?
(unless: (history:) contains "new refugee camp")[[[Tell your producer to find a new refugee camp by explaining to people that you are making a documentary about refugees.|new refugee camp]]]
(unless: (history:) contains "new refugee camp 2 - after lying")[[[Tell your producer to try to find a new refugee camp by explaining to people that you are looking for a relative, to keep your project secret.|new refugee camp 2 - after lying]]]
(if: (history:) contains "tell refugees truth")[(unless: (history:) contains "find Elias")[[[Remember that you have the cell phone number for Elias, the refugee you met on your research trip. Call him.|find Elias]]]](if: (history:) contains "You do reveal you are a documentarian")[(unless: (history:) contains "new refugee camp")[[[Go find Rima and her family.|new refugee camp]]]]
(if: (history:) contains "Rima finishes the interview")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else-if: (history:) contains "Rima finishes the interview 2")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else-if: (history:) contains "find Elias")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else:)[[[You're tired and you're ready to pack up and go home, even though you don't know if you have the footage to make a documentary.|begin post]]]One local who works as a cook at a refugee camp tells your producer that he will take you to the camp where he works, but when you arrive the next day with all of your camera equipment, he balks.
"You are not looking for a relative!" he says. "Why are you lying to me? Do you want me to lose my job?"
Your producer explains that you just want to keep a low profile, but the cook doesn't care. He refuses to escort you, and he says he will warn the camp officials that there is a film crew "trying to make some movie about how we are mistreating refugees!"
What now?
(unless: (history:) contains "new refugee camp")[[[Tell your producer to try to find a refugee camp by telling people you are making a documentary about refugees.|new refugee camp]]]
(unless: (history:) contains "new refugee camp")[(if: (history:) contains "You do reveal you are a documentarian")[[[Return to the refugee camp you visited on your research trip and look for Rima.|new refugee camp]]]](unless: (history:) contains "find Elias")[(if: (history:) contains "tell refugees truth")[[[You remember that you have the phone number for Elias, the refugee you met on your research trip. Call him.|find Elias]]]]
(if: (history:) contains "let Marwan decide")[[[Decide to start post-production, since you know you have some good footage.|begin post]]](else-if: (history:) contains "find Elias")[[[Decide to start post-production, since you know you have some good footage.|begin post]]](else-if: (history:) contains "Rima finishes the interview")[[[Decide to start post-production, since you know you have some good footage.|begin post]]](else-if: (history:) contains "Rima finishes the interview 2")[[[Decide to start post-production, since you know you have some good footage.|begin post]]](else-if: (history:) contains "new refugee camp")[[[You're tired and you're ready to pack up and go home, even though you don't know if you have a documentary.|begin post]]]You decide that it's too dangerous to let this man continue to monitor refugees for even one more night, given what you've been told. You go to the administrator of the camp and tell her what you know. She is shocked, and says that she will deal with it at once. She sends two guards to find Stavros, and they return with him -- saying that they caught him in the act of forcefully taking money from a refugee family. The administrator calls the local police and Stavros is arrested. She thanks you for bringing this to her attention, gives you her card, and tells you to contact her if you ever have need of her help. You feel pretty good about having made the right choice.
(unless: (history:) contains "new refugee camp 2 - after lying")[[[You could use more footage. Tell your producer to try to find a refugee camp by explaining to people that you are looking for a relative, to keep your project secret.|new refugee camp 2 - after lying]]]
(unless: (history:) contains "return to refugee camp man")[(unless: (history:) contains "return to refugee camp woman")[[[Tell your producer to try to find another refugee camp by explaining that you are making a documentary.|return to refugee camp man]]]]
(if: (history:) contains "let Marwan decide")[[[Decide to start post-production, since you know you have some good footage.|begin post]]](else-if: (history:) contains "find Elias")[[[Decide to start post-production, since you know you have some good footage.|begin post]]](else-if: (history:) contains "Rima finishes the interview")[[[Decide to start post-production, since you know you have some good footage.|begin post]]](else-if: (history:) contains "Rima finishes the interview 2")[[[Decide to start post-production, since you know you have some good footage.|begin post]]](else:)[[[You're tired and you're ready to pack up and go home, even though you don't know if you have the footage you need to make a documentary.|begin post]]]You decide to wait until the next day, when you will have a working camera, to report the guard. You go back to your hotel and make sure to charge all of your batteries.
You return the next morning, but see no sign of the guard Stavros. You decide to go to the administrator of the camp and report him.
"Yes, we caught him last night in the act of beating a young woman who would not give him her jewelry," she says. "He's been taken away by the police. Unfortunately, the woman sustained serious injuries. She is in the local hospital now, in a coma."
You and your crew all leave, feeling terrible. You've all learned a lesson, but at what cost?(if: (history:) contains "sign on with EDGE")[Jen feels especially guilty.
"If only I hadn't been so determined to film everything!" she says, sobbing. She says she doesn't want to continue with the film.]
(if: (history:) contains "let Marwan decide")[[[This turn of events is really tough on all of you. Decide to return home and start post-production.|begin post]]](else-if: (history:) contains "find Elias")[[[This turn of events is really tough on all of you. Decide to return home and start post-production.|begin post]]](else-if: (history:) contains "Rima finishes the interview")[[[This turn of events is really tough on all of you. Decide to return home and start post-production.|begin post]]](else-if: (history:) contains "Rima finishes the interview 2")[[[This turn of events is really tough on all of you. Decide to return home and start post-production.|begin post]]](else:)[[[You're tired and you're ready to pack up and go home, even though you don't know if you have the footage you need to make a documentary.|begin post]]](if: (history:) contains "sign on with EDGE")[Quietly ask Jen to go find a hospital to purchase antibiotics for Marwan's daughter and let you finish the interview. ]You ask Marwan if he needs a moment, and he and his son thank you. He dries his eyes a bit and composes himself, then finishes telling you about how his family had to leave his brother behind when they took the boat to Lesbos. His brother was too weak and would not have survived the trip. Now, they don't know how or where he is. He knows he made the right decision for his family, but he feels as if he abandonned his brother. It is a very moving story.
After the interview, you thank Marwan for being so honest and sharing that story with you. As you're wrapping up, your producer returns with the medicine for Marwan's daughter, and he and his family thank you profusely.
You've got some great material. What now?
(unless: (history:) contains "new refugee camp")[[[Tell your producer to find a new refugee camp by explaining to people that you are making a documentary about refugees.|new refugee camp]]
(if: (history:) contains "You do reveal you are a documentarian")[[[Go to the camp where Rima is now.|new refugee camp]]]](if: (history:) contains "tell refugees truth")[(unless: (history:) contains "find Elias")[[[You remember that you have the phone number for Elias, the refugee you met on your research trip. Call him.|find Elias]]]]
(unless: (history:) contains "new refugee camp 2 - after lying")[[[Tell your producer to try to find a new refugee camp by explaining to people that you are looking for a relative, to keep your project secret.|new refugee camp 2 - after lying]]]
[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]You continue the interview. Soon, Marwan completely bursts into tears. He cries for several minutes. He eventually continues, but wraps up the story quickly, in a rather incoherent fashion. It's an okay interview, but it's not great. You thank him and his family. Your producer manages to find antibiotics to help his daughter, so at least you feel good about that.
You're still hoping to get a better interview. What should you do now?
(unless: (history:) contains "new refugee camp")[[[Tell your producer to find a new refugee camp by explaining to people that you are making a documentary about refugees.|new refugee camp]]
(if: (history:) contains "You do reveal you are a documentarian")[[[Go to the camp where Rima is now.|new refugee camp]]]](if: (history:) contains "tell refugees truth")[(unless: (history:) contains "find Elias")[[[You remember that you have the phone number for Elias, the refugee you met here before. Call him.|find Elias]]]]
(unless: (history:) contains "new refugee camp 2 - after lying")[[[Tell your producer to try to find a new refugee camp by explaining to people that you are looking for a relative, to keep your project secret.|new refugee camp 2 - after lying]]]
(if: (history:) contains "Rima finishes the interview")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else-if: (history:) contains "Rima finishes the interview 2")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else-if: (history:) contains "find Elias")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else:)[[[You're tired and you're ready to pack up and go home, even though you don't know if you have the footage to make a documentary.|begin post]]]Marwan's son says, "Hey, I heard you tell her to zoom in on my father while he's crying! Are you trying to humiliate us when all we have left is our dignity?"
You apologize, but it's too late. Marwan and the son argue. Marwan is willing to continue but the son is angry, and refuses to translate. He runs off in a huff.
You try to continue the interview, but it's next to impossible without a translater. Marwan is also clearly distracted now and worried about his son. You finish and thank him, but you know the footage you've gotten isn't what you'd hoped for. Your producer does get them antibiotics to help their daughter, so at least you feel good about that.
Now what?
(unless: (history:) contains "new refugee camp")[[[Tell your producer to find a new refugee camp by explaining to people that you are making a documentary about refugees.|new refugee camp]]
(if: (history:) contains "You do reveal you are a documentarian")[[[Go to the camp where Rima is now.|new refugee camp]]]](if: (history:) contains "tell refugees truth")[(unless: (history:) contains "find Elias")[[[You remember that you have the phone number for Elias, the refugee you met here before. Call him.|find Elias]]]]
(unless: (history:) contains "new refugee camp 2 - after lying")[[[Tell your producer to try to find a new refugee camp by explaining to people that you are looking for a relative, to keep your project secret.|new refugee camp 2 - after lying]]]
(if: (history:) contains "Rima finishes the interview")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else-if: (history:) contains "Rima finishes the interview 2")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else-if: (history:) contains "find Elias")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else:)[[[You're tired and you're ready to pack up and go home, even though you don't know if you have the footage to make a documentary.|begin post]]]
You head home. After a couple of weeks off to rest, you are ready to begin editing.
(if: (history:) contains "sign on with EDGE")[EDGE pairs you with one of their top editors and he begins work in one of their edit suites.
"Let him find the first cut," the Director of Documentary Programming tells you. "Then you can come in and review it." You agree.
In a few weeks, you come in to look at the assembly your editor is putting together. You can hardly believe your eyes: this editor has managed to take every squalid shot of refugee camps that you have -- crying children, people in rags, trash and chaos everywhere -- and put them in the cut, making things look as depressing as possible. He has put melodramatic music under everything. You hate it.
You tell the Director of Documentary Programming how you feel and he says, "Sorry, but I think this piece is looking great. It's perfect for our brand, and we get to determine the final cut. If you're really that unhappy, though, we can remove your name from the documentary."
[[Work with the version you have. Do your best to get your editor to change the parts you are most unhappy with.|continue the edit]]
[[This documentary isn't the serious film that you intended to make, and will reflect badly on you. Tell EDGE to remove your name, and wash your hands of the project completely.|take your name off the film]]
(if: (history:) contains "Raise your funding goal")[[[Tell EDGE to remove your name from the documentary, but ask that they include the names of the people who supported your crowd-funding campaign. You promised your backers screen credit.|no name but yes backers]]](if: (history:) contains "Raise more than your funding goal")[[[Tell EDGE to remove your name from the documentary, but ask that they give a percentage of the film's profits to the people who supported your crowd-funding campaign. You have to honor your agreement with your backers.|no name but no backers]]]](else-if: (history:) contains "negotiate contract changes")[EDGE pairs you with one of their top editors and he begins work in one of their edit suites.
"Let him find the first cut," the Director of Documentary Programming tells you. "Then you can come in and review it." You agree.
In a few weeks, you come in to look at the assembly your editor is putting together. You can hardly believe your eyes: this editor has managed to take every squalid shot of refugee camps that you have -- crying children, people in rags, trash and chaos everywhere -- and put them in the cut, making things look as depressing as possible. He has put melodramatic music under everything. You hate it.
You tell the Director of Documentary Programming and he says, "I think this piece is looking great! It's perfect for our brand."
What should you do?
[[Accept his judgment, he's much more experienced than you are.|continue the edit]]
[[Tell him that you want a new editor, because in your contract it says that you get to determine final cut.|get a new editor]]](else-if: (history:) contains "let Marwan decide")[You don't have enough money to hire an editor, so you begin editing on your own. As you're working with a couple of the sound bites, you find that your subjects aren't saying exactly what you expected them to say. You see, though, that with some creative editing and use of b-roll, you can cut things together so that they do.
[[Cut the footage so that your subjects say what you'd like them to say, even if it's not what they said at the time.|edit sound bites]]
[[Cut the footage without manipulating what people are saying. You shouldn't alter the truth of what was said in the interview.|don't edit sound bites]]](else-if: (history:) contains "find Elias")[You don't have enough money to hire an editor, so you begin editing on your own. As you're working with a couple of the sound bites, you find that your subjects aren't saying exactly what you expected them to say. You see, though, that with some creative editing and use of b-roll, you can cut things together so that they do.
[[Cut the footage so that your subjects say what you'd like them to say, even if it's not what they said at the time.|edit sound bites]]
[[Cut the footage without manipulating what people are saying. You shouldn't alter the truth of what was said in the interview.|don't edit sound bites]]] (else-if: (history:) contains "Rima finishes the interview")[You don't have enough money to hire an editor, so you begin editing on your own. As you're working with a couple of the sound bites, you find that your subjects aren't saying exactly what you expected them to say. You see, though, that with some creative editing and use of b-roll, you can cut things together so that they do.
[[Cut the footage so that your subjects say what you'd like them to say, even if it's not what they said at the time.|edit sound bites]]
[[Cut the footage without manipulating what people are saying. You shouldn't alter the truth of what was said in the interview.|don't edit sound bites]]](else-if: (history:) contains "Rima finishes the interview 2")[You don't have enough money to hire an editor, so you begin editing on your own. As you're working with a couple of the sound bites, you find that your subjects aren't saying exactly what you expected them to say. You see, though, that with some creative editing and use of b-roll, you can cut things together so that they do.
[[Cut the footage so that your subjects say what you'd like them to say, even if it's not what they said at the time.|edit sound bites]]
[[Cut the footage without manipulating what people are saying. You shouldn't alter the truth of what was said in the interview.|don't edit sound bites]]](else:)[After weeks of trying to edit the footage together, you realize that there isn't any real story here out of which to make a documentary. You've failed.
[[Try again?|try again]]]You continue to record Rima's conversation with her husband, with Andrew filling you in on what they are saying. Rima is worried about what will happen when she tells you about the guard at the other camp. Her husband thinks it is important that she tell the truth, so that this guard can be exposed. She says she is worried about being sent back to Syria, and he reassures her.
Then he sees that you and Andrew are watching the two of them very intently, while Andrew listens through his headphones. He says something quickly, which Andrew translates as, "Are you still wearing that microphone? They are listening to our conversation!"
Rima and her husband are very angry with you. She pulls off the microphone and refuses to finish the interview, no matter how you and your producer try to convince her. She and her husband tell you to leave their family alone, and walk away.
Now what?
(unless: (history:) contains "new refugee camp 2 - after lying")[[[Tell your producer to try to find another refugee camp by explaining to people that you are looking for a relative, to keep your project secret.|new refugee camp 2 - after lying]]]
(unless: (history:) contains "return to refugee camp man")[[[Tell your producer to find another refugee camp by explaining to people that you are making a documentary about refugees.|return to refugee camp man]]]
(unless: (history:) contains "find Elias")[(if: (history:) contains "tell refugees truth")[[[You remember that you have the phone number for Elias, the refugee you met on your research trip. Call him.|find Elias]]]]
(if: (history:) contains "let Marwan decide")[[[Decide to go home and start post-production, since you know you have some good footage.|begin post]]](else-if: (history:) contains "find Elias")[[[Decide to go home and start post-production, since you know you have some good footage.|begin post]]](else:)[[[You're tired and you're ready to pack up and go home, even though you don't know if you have the footage to make a documentary.|begin post]]]Rima finishes talking with her husband, and then comes back to finish the interview. She tells about how one of the guards at the first refugee camp they went to beat her husband severely, causing several broken bones. The guard has a reputation for doing this to refugees, many people had said they'd also been beaten. There's a rumor that he even killed someone, but everyone was afraid to speak out, for fear of reprisals. She describes the man in detail and tells you that his name is Stavros.
After you finish the interview, you thank Rima and her husband profusely. You tell them that you recorded them speaking privately when she was wired, and apologize, saying that you don't plan to use any of what was said, because you have all you need from the interview.
"So you would have used our private conversation, without asking our permission?" asks Rima.
"Well, it could have been very important to the film, to raising awareness about what refugees are going through," you explain. You say that her interview was very powerful, and based on what she's told you, you're going to try and have this guard, Stavros, removed from the camp.
She still does not look very happy. You have a hard time persuading her and her husband to sign releases, but eventually, they do.
It's late in the day, but you and your crew go to Rima's former refugee camp. Almost immediately, you see the man Rima has described, and hear someone call him "Stavros." Your cinematographer is just about to start rolling on a shot of him when she realizes your last camera battery is dead.
"We haven't had access to power all day so we haven't been able to charge batteries," she says, clearly frustrated. (if: (history:) contains "sign on with EDGE")[Jen says, "We can't report the guard now if we can't film it, it's a golden opportunity to get something really exciting on camera."](if:(history:) contains "negotiate contract changes")[Your producer, Jen, says "We can't report the guard now if we can't film it, it's a golden opportunity to get something really exciting on camera."]
What should you do?
[[Report the guard now anyway. You need to have him removed from the camp before he hurts anyone else.|report guard]]
[[Wait and report the guard tomorrow, so that you can film what happens.|wait until tomorrow to report guard]]Rima finishes talking with her husband, and then comes back to finish the interview. She tells about how one of the guards at the first refugee camp they went to beat her husband severely, causing several broken bones. The guard has a reputation for doing this to refugees, many people had said they'd also been beaten. There's a rumor that he even killed someone, but everyone was afraid to speak out, for fear of reprisals. She describes the man in detail and tells you that his name is Stavros.
After you finish the interview, you thank Rima and her husband profusely. You say that based on what she's told you, you're going to try and have this guard, Stavros, removed from the camp. Rima thanks you, says she's glad she spoke with you, and tells you to keep her cell phone number so that you can let her know when the film is done.
It's late in the day, but you and your crew go to Rima's former refugee camp(if: (history:) contains "You return to refugee camp woman")[, where you were earlier that day]. Almost immediately, you see the man Rima has described, and hear someone call him "Stavros." Your cinematographer is just about to start rolling on a shot of him when she realizes your last camera battery is dead.
"There must have been a problem with power in the hotel room so that they didn't fully charge last night," she says, clearly frustrated. (if: (history:) contains "sign on with EDGE")[Jen says, "We can't report the guard now if we can't film it, it's a golden opportunity to get something really exciting on camera."]
What should you do?
[[Report the guard now anyway. You need to have him removed from the camp before he hurts anyone else.|report guard]]
[[Wait and report the guard tomorrow, so that you can film what happens.|wait until tomorrow to report guard]]You do your best to work with the editor to complete a documentary that you can at least feel okay about. After many fights with him and the Director of Documentary Programming, you finally make something that is not what you wanted, but at least not embarassing to you.
(if: (history:) contains "Raise your funding goal")[When the film is broadcast, your crowdfunding backers get their names in the credits and a copy of the film, so they are satisfied. ](if: (history:) contains "Raise more than your funding goal")[Unfortunately, EDGE won't pay anyone the percentage of the profits that you promised them in your crowdfunding campaign, and you don't make nearly enough to do that yourself. The crowdfunders are are very upset. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders. ](if: (history:) contains "Rima participates without face blurring")[When the film is broadcast, you find out that, because of her participation, and because her face was not blurred, Rima and her family have been deported back to Syria. You feel terrible about this. You call her and offer to help her and her family in any way you can, but you still regret the choice you made not to blur her face. ](if: (history:) contains "make deal with WRO")[You receive an angry call from the World Refugee Organization(unless: (history:) contains "show cut to the WRO")[, because they did not like how the documentary turned out. "The way it portrays our work with refugees is not favorable, and it violates our contract with you," they say]. You end up having to pay them back their initial investment, in full.]
Overall, there's very little to be happy about with this outcome. You have, however, learned a lot of valuable lessons that you will remember the next time you make a film.
[[Try again?|try again]]You decide that you'd rather not be attached to this documentary in any way. After all of your hard work, it's a difficult decision, but you think it's the right thing to do.
(if: (history:) contains "Raise your funding goal")[Because you left the project, none of your crowdfunding supporters get their names in the credits, or a copy of the finished piece. They are very upset. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders. ](if: (history:) contains "Raise more than your funding goal")[None of your crowdfunding supporters make any money or get their names in the credits. They are very upset. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders. ](if: (history:) contains "make deal with WRO")[You receive an angry call from the World Refugee Organization(unless: (history:) contains "show cut to the WRO")[, because they did not like how the documentary turned out. "The way it portrays our work with refugees is not favorable, and it violates our contract with you," they say]. You end up having to pay them back their initial investment, in full.]
(if: (history:) contains "Rima participates without face blurring")[When the documentary is broadcast, you find out that, because of her participation, Rima and her family have been deported back to Syria. You feel terrible about this. You call her and offer to help her and her family in any way you can, but you still regret the choice you made not to blur her face. ]You are extremely unhappy about this outcome, but you've learned a lot of important lessons about how to make a documentary.
[[Try again?|try again]]Your crowdfunding backers get their names in the credits, and a copy of the documentary. They are fairly satisfied, although most of them think the film is just as embarassing as you do. Still, they get to see their names on TV when the film is broadcast. (if: (history:) contains "make deal with WRO")[You receive an angry call from the World Refugee Organization(unless: (history:) contains "show cut to the WRO")[, because they did not like how the documentary turned out. "The way it portrays our work with refugees is not favorable, and it violates our contract with you," they say]. You end up having to pay them back their initial investment, in full.]
(if: (history:) contains "Rima participates without face blurring")[When the film is broadcast, you find out that, because of her participation, (if: (history:) contains "Rima quits the interview")[even though she's hardly in the film because she didn't finish her interview,] Rima and her family are deported back to Syria. You feel terrible about this. You call her and offer to help her and her family in any way you can, but you still regret the choice you made not to blur her face. ]This outcome is not ideal in any way, but you learned a lot of valuable lessons that you will remember the next time you make a film.
[[Try again?|try again]]Unfortunately, EDGE won't pay anyone the percentage of the profits that you promised them in your crowdfunding campaign (that wasn't in your contract), and you don't make nearly enough to do that yourself. The crowdfunders are very angry. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders. (if: (history:) contains "Rima participates without face blurring")[When the film is broadcast, you find out that, because of her participation, (if: (history:) contains "Rima quits the interview")[even though she's hardly in the film because she didn't finish her interview,] Rima and her family are deported back to Syria. You feel terrible about this. You call her and offer to help her and her family in any way you can, but you still regret the choice you made not to blur her face. ](if: (history:) contains "make deal with WRO")[You receive an angry call from the World Refugee Organization(unless: (history:) contains "show cut to the WRO")[, because they did not like how the documentary turned out. "The way it portrays our work with refugees is not favorable, and it violates our contract with you," they say]. You end up having to pay them back their initial investment, in full.]
You are extremely unhappy about how all of this turned out, but you've learned a lot of important lessons about how to make a documentary.
[[Try again?|try again]]The executives at EDGE take a look at your film.
"This is a really interesting project," says the Director of Documentary Programming. "We will give you the money to finish it if you sign on with EDGE."
"What does that mean?" you ask.
"It means that we'd provide you with an EDGE editor, who could shape the documentary so that it fits in with our programming," the president of the company tells you. "And, of course, EDGE would determine final cut."
What should you do?
[[Agree to their terms so that you can finish the documentary.|finish film with EDGE]]
[[Tell them you want to work with them, but you must have final cut. You know the material better than anyone else.|finish with final cut]]
(unless: (history:) contains "show cut to PBS")[[[Tell them thanks, but you'd rather find a way to finish the project on your own terms. Take the documentary to PBS.|show cut to PBS]]]
(unless: (history:) contains "show cut to the WRO")[[[Tell them thanks, but you'd rather find a way to finish the project on your own terms. Take the documentary to the World Refugee Organization.|show cut to the WRO]]]
[[Decide that you're through with outside funders, and that you're going to finish the documentary yourself.|don't finish film]]You show your rough cut to PBS. (if: (history:) contains "edit sound bites")[The head of //Independent Lens//, which is one of their most prestigious programs, says, "This piece is powerful, but it seems like you've heavily edited a lot of these refugees' quotes. That's unacceptable to us, we don't acquire documentaries that are dishonest in that way."
"But, I just wanted to make the project better!" you say.
"Well, we can't show it," she says. "Thanks for coming in."
Now what?](else-if: (history:) contains "pay subjects")[The head of //Independent Lens//, which is one of their most prestigious programs, says, "We love this documentary. It's really powerful. But I've heard through the grapevine that you paid some of your subjects to participate. Is this true?"
"Well, yes, in one instance I did," you say, "but --"
"Well, we're sorry, but we can't have the PBS name associated with that practice. It's unethical and damaging to our reputation."
Now what?]
(if: (history:) contains "edit sound bites")[(unless: (history:) contains "show cut to EDGE")[[[Take the documentary to EDGE.|show cut to EDGE]]]
(unless: (history:) contains "show cut to the WRO")[[[Take the documentary to the World Refugee Organization.|show cut to the WRO]]]
[[Decide you're through with outside funders and you're going to finish the documentary yourself.|don't finish film]]] (else-if: (history:) contains "pay subjects")[(unless: (history:) contains "show cut to EDGE")[[[Take the film to EDGE.|show cut to EDGE]]]
(unless: (history:) contains "show cut to the WRO")[[[Take the documentary to the World Refugee Organization.|show cut to the WRO]]]
[[Decide you're through with outside funders and that you're going to finish the documentary yourself.|don't finish film]]](else:)[The head of //Independent Lens//, which is one of their most prestigious programs, says, "We love this documentary. It's really powerful. We will give you finishing funds, and we want to acquire it and show it next season. Do you think you can have the final cut done in time?"
"Of course!" you say.
You hire an editor whose work you admire to help you finish the documentary. You are very happy with the final cut that you create together.(if: (history:) contains "Rima participates with face blurring")[ Even though her face is blurred to obscure her identity, the part with Rima is amazing.](if: (history:) contains "find Elias")[ The scene with Elias is a high point. It shows that some refugees are doing well, and gives the film a happy ending.] When the final version is done, it's broadcast nationally on //Independent Lens//, and gets very good reviews. (if: (history:) contains "shopkeeper is unfriendly")[Many critics applaud how you show the refugee crisis from both the perspective of the refugees and that of the local populace. ](if: (history:) contains "Raise your funding goal")[Your crowdfunding backers get their names in the credits and a copy of the film, so they are satisfied. ]
(if: (history:) contains "Raise more than your funding goal")[Unfortunately, PBS won't pay anyone the percentage of the profits that you promised them in your crowdfunding campaign, and you don't make nearly enough to do that yourself. The crowdfunders are very upset. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders. ](if: (history:) contains "Rima participates without face blurring")[After the broadcast, you find out that, because of her appearance in the documentary, Rima and her family have been deported back to Syria. You feel terrible about this. You call her and offer to help her and her family in any way you can, but you still regret the choice you made not to blur her face. ](if: (history:) contains "make deal with WRO")[You receive an angry call from the World Refugee Organization(unless: (history:) contains "show cut to the WRO")[, because they did not like how the documentary turned out. "The way it portrays our work with refugees is not favorable, and it violates our contract with you," they say]. You end up having to pay them back their initial investment, in full.]
You take the film back to Lesbos and show it to the people you met there, who are very pleased with the final result. (if: (history:) contains "report guard")[The administrator to whom you reported the dangerous guard does a great job of publicizing the event. There is a huge, enthusiastic crowd at the screening, causing it to make the international news. ](else-if: (history:) contains "wait until tomorrow to report guard")[Returning reminds you about how you failed to report that dangerous guard, and this casts a shadow over the screening. ]Overall, the film is very successful,(if: (history:) contains "Rima participates without face blurring")[ although you're not sure you can forgive yourself for what you've done to Rima's family](else:)[ and you do feel good about what you've accomplished]. You've also learned a lot about what to do and what not to do next time you make a documentary.
[[Try again?|try again]]]
You decide it's more important to have the film make a clear point about the plight of refugees than to be true to what people said in interviews.
Once you get the rough cut to where you want it, you decide it's time to raise funding to finish the film.
[[Show the film to EDGE.|show cut to EDGE]]
[[Show the film to the World Refugee Organization.|show cut to the WRO]]
[[Show the film to PBS.|show cut to PBS]]
You decide that you will work with what your subjects actually said, rather than try to make them say what they didn't. Turns out, you find some really wonderful and unexpected moments this way. The film ends up surprising even you in what it reveals about the refugee experience.
Now that you have the rough cut in a good place, it's time to raise finishing funds.
[[Show the film to EDGE.|show cut to EDGE]]
[[Show the film to the World Refugee Organization.|show cut to the WRO]]
[[Show the film to PBS.|show cut to PBS]]
(if: (history:) contains "make deal with WRO")[You decide to go to the World Refugee Organization, since they already gave you money. You show the cut to their executive board. They are shocked.
"This is not what we had in mind at all," says the head of the board. "This footage makes our organization look as if we doing a terrible job on the ground."
"I disagree," you say. "I think it shows that you are doing a lot of good work, but that the problem serious. I'm hoping it will encourage people to donate more money."
"It amounts to the same thing," says the head of the board. "We aren't going to give you any more money. Moreover, we want our initial investment back, since you violated our contract by portraying us in a negative light."
"But I spent that on production!" you say.
"You still need to repay us."](else:)[You decide to bring the project to the World Refugee Organization, since you know they have an interest in the subject matter. You show the cut to their executive board. They are shocked.
"This makes our organization look as if we are doing a terrible job on the ground," says the head of the board.
"I disagree," you say. "I think it shows that you are doing a lot of good work, but that the problem is serious. I'm hoping it will encourage people to donate more money."
"It amounts to the same thing," says the head of the board. "We can't give you money for a film that portrays our organization so negatively, I'm sorry."]
Now what?
(unless: (history:) contains "show cut to PBS")[[[Show the documentary to PBS.|show cut to PBS]]]
(unless: (history:) contains "show cut to EDGE")[[[Show the documentary to EDGE.|show cut to EDGE]]]
[[Decide you're through with outside funders and that you're going to finish the documentary yourself.|don't finish film]]
EDGE pairs you with one of their top editors and he begins work in one of their edit suites.
"Let him find the first cut," the Director of Documentary Programming tells you. "Then you can come in and review it." You agree.
In a few weeks, you come in to look at the assembly your editor is putting together. You can hardly believe your eyes: this editor has managed to take every squalid shot of refugee camps that you have -- crying children, people in rags, trash and chaos everywhere -- and put them in the cut, making things look as depressing as possible. He has put melodramatic music under everything. You hate it.
You tell the Director of Documentary Programming how you feel and he says, "Sorry, but I think this piece is looking great. It's perfect for our brand, and we get to determine the final cut. If you're really that unhappy, though, we can remove your name from the documentary."
[[Work with the version you have. Do your best to get your editor to change the parts you are most unhappy with.|continue the edit]]
[[This documentary isn't the serious film that you intended to make, and will reflect badly on you. Tell EDGE to remove your name, and wash your hands of the project completely.|take your name off the film]]
(if: (history:) contains "Raise your funding goal")[[[Tell EDGE to remove your name from the documentary, but ask that they include the names of the people who supported your crowd-funding campaign. You promised your backers screen credit.|no name but yes backers]]](if: (history:) contains "Raise more than your funding goal")[[[Tell EDGE to remove your name from the documentary, but ask that they give a percentage of the documentary's profits to the people who supported your crowd-funding campaign. You have to honor your agreement with your backers.|no name but no backers]]]You find a new editor, someone whose work you admire. Together, you basically start from scratch, and put together a completely different documentary.(if: (history:) contains "let Marwan decide")[ The part with Marwan turns out to be very moving.(if: (history:) contains "Rima participates with face blurring")[ Even though her face is blurred to obscure her identity, the part with Rima is good too.](if: (history:) contains "find Elias")[ The scene with Elias is a high point. It shows that some refugees are doing well, and gives the piece a happy ending.]
When you finish the documentary, it's broadcast on EDGE, and gets very good reviews. (if: (history:) contains "shopkeeper is unfriendly")[ Many critics applaud how you show the refugee crisis from both the perspective of the refugees and that of the local populace.](if: (history:) contains "Raise your funding goal")[ Your crowdfunding backers get their names in the credits and a copy of the film, so they are satisfied.](if: (history:) contains "Raise more than your funding goal")[ Unfortunately, EDGE won't pay anyone the percentage of the profits that you promised them in your crowdfunding campaign, and you don't make nearly enough to do that yourself. The crowdfunders are very upset. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders.](if: (history:) contains "Rima participates without face blurring")[ After the broadcast, you find out that, because of her appearance in the documentary, Rima and her family have been deported back to Syria. You feel terrible about this. You call her and offer to help her and her family in any way you can, but you still regret the choice you made not to blur her face.](if: (history:) contains "make deal with WRO")[ You receive an angry call from the World Refugee Organization, because they did not like how the documentary turned out. "The way it portrays our work with refugees is not favorable, and it violates our contract with you," they say. You end up having to pay them back their initial investment, in full.]
You take the film back to Lesbos and show it to the people you met there, who are very pleased with the final result. (if: (history:) contains "report guard")[The administrator to whom you reported the dangerous guard does a great job of publicizing the event. There is a huge, enthusiastic crowd at the screening, causing it to make the international news. ](else-if: (history:) contains "wait until tomorrow to report guard")[Returning reminds you about how you failed to report that dangerous guard, and this casts a shadow over the screening.]Overall, the film is very successful,(if: (history:) contains "Rima participates without face blurring")[ although you're not sure you can forgive yourself for what you've done to Rima's family](else:)[ and you feel good about what you've accomplished]. You've also learned a lot about what to do and what not to do next time you make a documentary.
[[Try again?|try again]]](else-if: (history:) contains "find Elias")[ The scene with Elias, which shows that some refugees are doing well, gives the documentary a happy ending.(if: (history:) contains "Rima participates with face blurring")[ The part with Rima is also good. Even though her face is blurred to obscure her identity, (if: (history:) contains "Rima quits the interview")[and you never finished the interview,](else-if: (history:) contains "camp guards throw you out")[and you never finished the interview,] her story holds up.]
When you finish the documentary, it's broadcast on EDGE, and gets very good reviews. (if: (history:) contains "shopkeeper is unfriendly")[ Many critics applaud how you show the refugee crisis from both the perspective of the refugees and that of the local populace.](if: (history:) contains "Raise your funding goal")[ Your crowdfunding backers get their names in the credits and a copy of the film, so they are satisfied.](if: (history:) contains "Raise more than your funding goal")[ Unfortunately, EDGE won't pay anyone the percentage of the profits that you promised them in your crowdfunding campaign, and you don't make nearly enough to do that yourself. The crowdfunders are very upset. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders.](if: (history:) contains "Rima participates without face blurring")[ After the broadcast, you find out that, because of her appearance in the documentary, Rima and her family have been deported back to Syria. You feel terrible about this. You call her and offer to help her and her family in any way you can, but you still regret the choice you made not to blur her face.](if: (history:) contains "make deal with WRO")[ You receive an angry call from the World Refugee Organization, because they did not like how the documentary turned out. "The way it portrays our work with refugees is not favorable, and it violates our contract with you," they say. You end up having to pay them back their initial investment, in full.]
You take the film back to Lesbos and show it to the people you met there, who are very pleased with the final result. (if: (history:) contains "report guard")[The administrator to whom you reported the dangerous guard does a great job of publicizing the event. There is a huge, enthusiastic crowd at the screening, causing it to make the international news. ](else-if: (history:) contains "wait until tomorrow to report guard")[Returning reminds you about how you failed to report that dangerous guard, and this casts a shadow over the screening. ]Overall, the film is very successful,(if: (history:) contains "Rima participates without face blurring")[ although you're not sure you can forgive yourself for what you've done to Rima's family](else:)[ and you feel good about what you've accomplished]. You've also learned a lot about what to do and what not to do next time you make a documentary.
[[Try again?|try again]]](else-if: (history:) contains "Rima finishes the interview")[ The part with Rima turns out to be a high point. (if: (history:) contains "Rima participates with face blurring")[Even though her face is blurred to obscure her identity, her story holds up.]
When you finish the film, it's broadcast on EDGE, and gets very good reviews. (if: (history:) contains "shopkeeper is unfriendly")[ Many critics applaud how you show the refugee crisis from both the perspective of the refugees and that of the local populace.](if: (history:) contains "Raise your funding goal")[ Your crowdfunding backers get their names in the credits and a copy of the film, so they are satisfied.](if: (history:) contains "Raise more than your funding goal")[ Unfortunately, EDGE won't pay anyone the percentage of the profits that you promised them in your crowdfunding campaign, and you don't make nearly enough to do that yourself. The crowdfunders are very upset. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders.](if: (history:) contains "Rima participates without face blurring")[ After the broadcast, you find out that, because of her appearance in the documentary, Rima and her family have been deported back to Syria. You feel terrible about this. You call her and offer to help her and her family in any way you can, but you still regret the choice you made not to blur her face.](if: (history:) contains "make deal with WRO")[ You receive an angry call from the World Refugee Organization, because they did not like how the documentary turned out. "The way it portrays our work with refugees is not favorable, and it violates our contract with you," they say. You end up having to pay them back their initial investment, in full.]
You take the film back to Lesbos and show it to the people you met there, who are very pleased with the final result. (if: (history:) contains "report guard")[The administrator to whom you reported the dangerous guard does a great job of publicizing the event. There is a huge, enthusiastic crowd at the screening, causing it to make the international news. ](else-if: (history:) contains "wait until tomorrow to report guard")[Returning reminds you about how you failed to report that dangerous guard, and this casts a shadow over the screening. ]
Overall, the film is very successful,(if: (history:) contains "Rima participates without face blurring")[ although you're not sure you can forgive yourself for what you've done to Rima's family](else:)[ and you do feel good about what you've accomplished]. You've also learned a lot about what to do and what not to do next time you make a documentary.
[[Try again?|try again]]](else-if: (history:) contains "Rima finishes the interview 2")[ The part with Rima turns out to be a high point. (if: (history:) contains "Rima participates with face blurring")[Even though her face is blurred to obscure her identity, her story holds up.]
When you finish the film, it's broadcast on EDGE, and gets very good reviews. (if: (history:) contains "shopkeeper is unfriendly")[ Many critics applaud how you show the refugee crisis from both the perspective of the refugees and that of the local populace.](if: (history:) contains "Raise your funding goal")[ Your crowdfunding backers get their names in the credits and a copy of the film, so they are satisfied.](if: (history:) contains "Raise more than your funding goal")[ Unfortunately, EDGE won't pay anyone the percentage of the profits that you promised them in your crowdfunding campaign, and you don't make nearly enough to do that yourself. The crowdfunders are very upset. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders.](if: (history:) contains "Rima participates without face blurring")[ After the broadcast, you find out that, because of her appearance in the documentary, Rima and her family have been deported back to Syria. You feel terrible about this. You call her and offer to help her and her family in any way you can, but you still regret the choice you made not to blur her face.](if: (history:) contains "make deal with WRO")[ You receive an angry call from the World Refugee Organization, because they did not like how the documentary turned out. "The way it portrays our work with refugees is not favorable, and it violates our contract with you," they say. You end up having to pay them back their initial investment, in full.]
You take the film back to Lesbos and show it to the people you met there, who are very pleased with the final result. (if: (history:) contains "report guard")[The administrator to whom you reported the dangerous guard does a great job of publicizing the event. There is a huge, enthusiastic crowd at the screening, causing it to make the international news. ](else-if: (history:) contains "wait until tomorrow to report guard")[Returning reminds you about how you failed to report that dangerous guard, and this casts a shadow over the screening. ]
Overall, the film is very successful,(if: (history:) contains "Rima participates without face blurring")[ although you're not sure you can forgive yourself for what you've done to Rima's family](else:)[ and you do feel good about what you've accomplished]. You've also learned a lot about what to do and what not to do next time you make a documentary.
[[Try again?|try again]]](else:)[ But after working for weeks and weeks, it becomes apparent that there is no film here. You didn't get a single complete story that you can use on camera. You've failed.
[[Try again?|try again]]]
You decide you're sick of dealing with outside funders, and you're going to finish the documentary yourself. Unfortunately, though, you don't have the time to work on it full-time, or money to hire an editor. Over the next three years, you edit and re-edit the footage on weekends and in your spare time, eventually reaching a final cut. At this point, the refugee crisis has abated, and nobody is interested in showing the documentary because it is so out of date. You can't get into any festivals or find distribution. (if: (history:) contains "Raise your funding goal")[Your crowdfunding backers get their names in the credits, and a copy of the piece, but they are disappointed that nobody will ever see it. ](if: (history:) contains "Raise more than your funding goal")[Since you haven't made any money, you can't give your crowdfunding backers the percentage of the profits that you promised them. They are are very upset. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders. ]At least you've learned a lot of lessons about making a documentary that you can apply to future projects.
[[Try again?|try again]]
EDGE pairs you with one of their top editors and he begins work in one of their edit suites.
"Let him find the first cut," the Director of Documentary Programming tells you. "Then you can come in and review it." You agree.
In a few weeks, you come in to look at the assembly your editor is putting together. You can hardly believe your eyes: this editor has managed to take every squalid shot of refugee camps that you have -- crying children, people in rags, trash and chaos everywhere -- and put them in the cut, making things look as depressing as possible. He has put melodramatic music under everything. You hate it.
You find a new editor, someone whose work you admire. Together, you go back to your rough cut, and begin work there. (if: (history:) contains "edit sound bites")[The first thing he does is convince you that you should re-cut the scenes where you heavily edited the sound bites.
"It's never a good idea to manipulate the truth like that," he says.]
When you finish the documentary, it's broadcast on EDGE, and gets very good reviews.(if: (history:) contains "Rima participates with face blurring")[ Even though her face is blurred to obscure her identity, the part with Rima is powerful.](if: (history:) contains "find Elias")[ The scene with Elias is a high point. It shows that some refugees are doing well, and gives the film a happy ending.](if: (history:) contains "shopkeeper is unfriendly")[ Many critics applaud how you show the refugee crisis from both the perspective of the refugees and that of the local populace.]
(if: (history:) contains "Raise your funding goal")[ Your crowdfunding backers get their names in the credits and a copy of the film, so they are satisfied.](if: (history:) contains "Raise more than your funding goal")[ Unfortunately, EDGE won't pay anyone the percentage of the profits that you promised them in your crowdfunding campaign, and you don't make nearly enough to do that yourself. The crowdfunders are very upset. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders.](if: (history:) contains "Rima participates without face blurring")[ After the broadcast, you find out that, because of her appearance in the documentary, Rima and her family have been deported back to Syria. You feel terrible about this. You call her and offer to help her and her family in any way you can, but you still regret the choice you made not to blur her face.](if: (history:) contains "make deal with WRO")[ You receive an angry call from the World Refugee Organization(unless: (history:) contains "show cut to the WRO")[, because they did not like how the documentary turned out. "The way it portrays our work with refugees is not favorable, and it violates our contract with you," they say]. You end up having to pay them back their initial investment, in full.]
You take the film back to Lesbos and show it to the people you met there, who are very pleased with the final result. (if: (history:) contains "report guard")[The administrator to whom you reported the dangerous guard does a great job of publicizing the event. There is a huge, enthusiastic crowd at the screening, causing it to make the international news. ](else-if: (history:) contains "wait until tomorrow to report guard")[Returning reminds you about how you failed to report that dangerous guard, and this casts a shadow over the screening. ]Overall, the film is very successful,(if: (history:) contains "Rima participates without face blurring")[ although you're not sure you can forgive yourself for what you've done to Rima's family](else:)[ and you do feel good about what you've accomplished]. You've also learned a lot about what to do and what not to do next time you make a documentary.
[[Try again?|try again]]<script>
location.reload();
</script>
↶↷ The Syrian refugee crisis has created tragic consequences. As you follow the news about this topic, you learn that Lesbos, Greece is the principal landing point for many refugees who are trying to get to Europe from the Middle East. This gives you an idea for a documentary about refugees that you are certain will make for a great film. To begin pre-production, you decide to:
Go to the region you are interested in, speak to people and just explore.
Go to the region with a camera and prepare to film as part of your research. Plan on documenting everything you can.
Stay at home and research the topic as well as funding and distribution options.
The Syrian refugee crisis has created tragic consequences. As you follow the news about this topic, you learn that Lesbos, Greece is the principal landing point for many refugees who are trying to get to Europe from the Middle East. This gives you an idea for a documentary about refugees that you are certain will make for a great film. To begin pre-production, you decide to:
[[Go to the region you are interested in, speak to people and just explore.|Start talking with people]]
[[Go to the region with a camera and prepare to film as part of your research. Plan on documenting everything you can.|Start shooting]]
[[Stay at home and research the topic as well as funding and distribution options.|Stay home and research]] 
You pay for your own travel and arrive in Lesbos. You take a taxi to a youth hostel and ask the desk clerk for information about where some of the refugees might be found.
[[Tell the desk clerk that this is because you are making a documentary about refugees.|You do reveal you are a documentarian]]
[[Tell the desk clerk that you are looking for relatives of yours who might be among the refugees, and don't say anything about your documentary.|You don't reveal you are a documentarian]]
You pay for your own travel and arrive in Lesbos. You bring a camera and sound recording gear, prepared to record as much as possible during preliminary research and development of the project.
You walk around the city and document everything -- often in long shots, but always surreptitiously. You get some good footage of how local businesses are treating refugees. One day, the owner of a local fish store spots you filming him giving fish scraps to some refugees. He asks what you are doing.
[[Tell him that you are working on a documentary about climate change and the Greek fishing industry.|shopkeeper is friendly]]
[[Tell him the truth, that you are working on a documentary about refugees.|shopkeeper is unfriendly]]
With your crew, you arrive (if: (history:) contains "Start talking with people")[back](else-if: (history:) contains "Start shooting")[back] on the Greek Island of Lesbos, ready to begin production.
(if: (history:) contains "Start shooting")[Your first move is to return and speak with the fish seller you met during your earlier visit.(if: (history:) contains "shopkeeper is unfriendly")[ Although he didn't want to talk with you before, it can't hurt to come back and see if he has changed his mind.
When you arrive at his shop, he recognizes you. He is hesitant, but not as unfriendly as before. "The truth is," he says, "I pity these people, and I've been thinking that maybe I should try to do more to help them."
He agrees to let you film him, and you return with your crew the next day. You end up getting an excellent interview, and afterwards, he introduces you to other shopkeepers in the area. They allow you to record them giving their own perspectives on the refugees. You feel like you've gotten some really good footage here.](if: (history:) contains "shopkeeper is friendly")[ He is glad to see you and says he is ready to talk about the Greek fishing industry. When you set up and begin recording, however, he realizes that all of your questions are about refugees.
"Why are you asking these questions? I don't want to talk about the refugees!" he shouts. He gets up abruptly and walks away.]
Now what?
[[You decide to go back to the refugee camp you visited on your research trip, and speak with the refugees you met there.|return to refugee camp man]]](if: (history:) contains "Start talking with people")[[[You decide to go back to the refugee camp you visited on your research trip, and talk with the refugees you met there.|return to refugee camp woman]]]
[[Tell your producer to find a refugee camp by explaining to people that you are making a documentary about refugees.|new refugee camp]]
[[Tell your producer to try to find a refugee camp without revealing the nature of your documentary. She should explain to people that you are looking for a relative among the refugees.|new refugee camp 2 - after lying]]
You begin by researching the topic. You scour the web, and study books and news articles. You watch as many movies and documentaries on the topics of refugees, immigration, and the Middle East as you can find.
As you do this research, an idea takes shape in your head. You write a documentary proposal, which contains a treatment, a budget, a clear timeline for production, who the target audience is, and how you plan to distribute the completed documentary.
You show this project proposal to your mentors and other filmmakers, incorporating their feedback into your proposal. You also show it to a cinematographer and a sound person who you like and trust. Both are eager to get to work with you on to the project.
You explore grants and other kinds of financing that might support your new project. You arrive at three options:
[[Self fund the documentary, using your savings, money from friends and family, and crowdfunding.|self-funding]]
[[Contact the EDGE Channel, whose EDGE Documentary TV series covers topics "with an edge."|meeting with EDGE]]
[[Contact the office of the World Refugee Organization, an organization that helps refugees.|meeting with the WRO]]
Your campaign strategy seems to have paid off! You raised $10,000 more than your goal, which will definitely pay for production! Now what?
(unless: (history:) contains "meeting with EDGE")[[[Try to raise even more money by going to the EDGE Channel.|meeting with EDGE]]]
(unless: (history:) contains "meeting with the WRO")[[[Try to raise even more money by going to the World Refugee Organization.|meeting with the WRO]]]
[[Assemble your team, fly to Greece, and begin production.|begin production]]
You sign the contract and shake hands with your new partners. (if: (history:) contains "Stay home and research")[You call the cinematographer and sound person who had agreed to work on the project, and break the bad news to them. They are both pretty disappointed, and say they will think twice about working with you again. Still, you've got your funding.]
Now what?
(unless: (history:) contains "meeting with the WRO")[[[Try to raise even more money by meeting with the World Refugee Organization.|meeting with the WRO]]]
(unless: (history:) contains "self-funding")[[[Try to raise even more money through self-funding.|self-funding]]]
[[Go through pre-production with your new producer and crew, and begin making your documentary.|begin production]]
You agree to sign the World Refugee Organization's contract and accept their support. The amount they are contributing seems like it should be enough to get you through production. What should you do now?
(unless: (history:) contains "self-funding")[[[Try to raise even more money through crowdfunding.|self-funding]]]
(unless: (history:) contains "meeting with EDGE")[[[Try to raise even more money by meeting with EDGE.|meeting with EDGE]]]
[[Assemble your team, fly to Greece, and begin production.|begin production]]
You bring your crew back to the camp where you previously did research. The refugees look at you suspiciously. (if: (history:) contains "You do reveal you are a documentarian")[Then people remember that you are the one who is making the documentary. They allow you to film with them, but you still can't find Rima, the woman you spoke with the last time you were here. The other residents of the camp say that she and her family moved to a different camp. You try her cell phone, reach her, and she tells you where she is.](else:)[Nobody is willing to talk with you. They seem upset that you didn't tell them last time that you were there to make a film.]
Then your producer points a man playing ball with two boys in the yard, who seem to be having fun. Your cinematographer starts filming them. When they notice you, you and your producer approach them. You introduce yourselves, and explain that you are making a documentary.
The father nods enthusiastically, pointing to the camera. He doesn't speak very good English, but after a moment, you realize that he is asking for something. "I think he wants money to do the interview," says Andrew, your sound person, who speaks a little Arabic.
You turn to your producer. (if: (history:) contains "sign on with EDGE")[Jen says, "We have the money. I don't have a problem with it."](else-if: (history:) contains "negotiate contract changes")[Jen says, "We have the money. I don't have a problem with it."](else:)[She says, "I know PBS frowns on that."]
[[Ask why they want money, is it for something you can help them with?|money for antibiotics]]
[[Agree to pay them money, they seem like they have a good story to tell.|pay subjects]]
(if: (history:) contains "You do reveal you are a documentarian")[[[Avoid this issue altogether by going to the camp where Rima is now.|new refugee camp]]]
At the refugee camp, you wander around, filming b-roll, until you meet Rima and her family. (if: (history:) contains "You do reveal you are a documentarian")[She recognizes you and is pleased to see you. ]She explains that her family had to leave their last refugee camp because it was dangerous, but she is afraid to tell you why. She glances at her husband. His arm is in a sling and he has bruises on his face.
[[Discuss issues of privacy with Rima and her family. Explain that if she is afraid to appear on camera, you can blur her face to protect her identity.|Rima participates with face blurring]]
(if: (history:) contains "sign on with EDGE")[[[Your producer, Jen, says she can convince Rima to film with you, and that you should let her handle it. You agree, this will be best for the film.|Rima participates without face blurring]]](else-if: (history:) contains "negotiate contract changes")[[[Your producer, Jen, says she can convince Rima to film with you, and that you should let her handle it. You agree, this will be best for the film.|Rima participates without face blurring]]](else:)[[[You don't want to blur faces. How likely is it that Rima will really get hurt from your small documentary? Convince her that everything will be fine.|Rima participates without face blurring]]]
[[You tell Rima you cannot tell her what to do, it's her decision.|Rima films with you but then will not sign a release]] 
You reach Elias on his cell phone. He is pleased to hear from you, and tells you that he and his family have been granted asylum. He says that he is on his way to meet his son, who has been found in another refugee camp. You ask if you can come and film the reunion, and he agrees.
You and your crew hurry to that refugee camp, where you arrive just in time to film the family being reunited. You capture a very touching scene. The family agrees to an on-camera interview, and a few days later, you return to film with them at their small apartment. The shoot goes well, and everyone on the crew feels that you've got some great footage. Your producer has the family sign releases, so you are all set.
What next?
(unless: (history:) contains "new refugee camp")[[[To find more stories to round out the documentary, tell your producer to find a new refugee camp by explaining to people that you are making a documentary about refugees.|new refugee camp]]]
(unless: (history:) contains "new refugee camp 2 - after lying")[[[To find more stories to round out the documentary, tell your producer to find a new refugee camp by explaining to people that you are looking for a lost relative.|new refugee camp 2 - after lying]]]
[[You have some good footage. It's time to go home and start post-production.|begin post]]
You put everything back the way it was, and start the interview. Rima tells you she is from Homs, a city which has endured terrible bombings throughout the war. She and her husband decided to leave with their three children after many of their relatives were killed. Then, when they arrived at the refugee camp in Greece, something terrible happened... She trails off, looking at her husband. She asks for a moment to talk to her husband alone. You tell her that's fine.
As she walks away with her husband, your sound person, Andrew, reminds you that she's still wearing a wireless microphone. He can hear their conversation, and he speaks a little Arabic. (if: (history:) contains "sign on with EDGE")[He can continue to record them and let you know what they're saying.]
[[Tell him to keep recording their conversation surreptitiously.|Rima quits the interview]]
[[Tell him that the couple clearly wants to have a private conversation, so he should stop recording.|Rima finishes the interview 2]]
[[Tell him to keep recording. You'll inform them afterwards that you were recording and might like to use their conversation.|Rima finishes the interview]]
You and your producer decide to pay this family to be interviewed(if: (history:) contains "money for antibiotics")[ with antibiotics. She goes and buys the antibiotics from a local hospital and gives them to the family in advance of the interview.](else:)[. She negotiates a price and gives them the money up front.]
You sit down and begin the interview with the man. One of the sons, who speaks pretty good English, translates. In a melodramatic way, the man starts to tell you about how the family survived a bombing in their hometown only to be taken prisoner by rebels. He describes a death-defying escape, then how he built a boat himself to take his family to Greece. The boat capsized, and he saved not only his own family, but another family...
You start to realize that, while this is a great story, it's completely fabricated. You try to explain to the man that you want the //real// story, but he just smiles and says, "This is what happened. I'm just adding a few details to make it worth your while."
You realize that this isn't going to work. You thank the man and his son for their time and tell them they can keep the (if: (history:) contains "money for antibiotics")[antibiotics](else:)[money], but you will no longer be filming with them.
Now what?
(unless: (history:) contains "new refugee camp")[[[Tell your producer to find a new refugee camp by explaining to people that you are making a documentary about refugees.|new refugee camp]]
(if: (history:) contains "You do reveal you are a documentarian")[[[Avoid this issue altogether by going to the camp where Rima is now.|new refugee camp]]]](if: (history:) contains "tell refugees truth")[(unless: (history:) contains "find Elias")[[[You remember that you have the phone number for Elias, the refugee you met here before. Call him.|find Elias]]]]
(unless: (history:) contains "new refugee camp 2 - after lying")[[[Tell your producer to try to find a new refugee camp by explaining to people that you are looking for a relative, to keep your identity secret.|new refugee camp 2 - after lying]]]
(if: (history:) contains "Rima finishes the interview")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else-if: (history:) contains "Rima finishes the interview 2")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else-if: (history:) contains "find Elias")[[[Decide to start post-production, since you know you have some good footage in the can.|begin post]]](else:)[[[You're tired and you're ready to pack up and go home, even though you don't know if you have the footage to make a documentary.|begin post]]]
You head home. After a couple of weeks off to rest, you are ready to begin editing.
(if: (history:) contains "sign on with EDGE")[EDGE pairs you with one of their top editors and he begins work in one of their edit suites.
"Let him find the first cut," the Director of Documentary Programming tells you. "Then you can come in and review it." You agree.
In a few weeks, you come in to look at the assembly your editor is putting together. You can hardly believe your eyes: this editor has managed to take every squalid shot of refugee camps that you have -- crying children, people in rags, trash and chaos everywhere -- and put them in the cut, making things look as depressing as possible. He has put melodramatic music under everything. You hate it.
You tell the Director of Documentary Programming how you feel and he says, "Sorry, but I think this piece is looking great. It's perfect for our brand, and we get to determine the final cut. If you're really that unhappy, though, we can remove your name from the documentary."
[[Work with the version you have. Do your best to get your editor to change the parts you are most unhappy with.|continue the edit]]
[[This documentary isn't the serious film that you intended to make, and will reflect badly on you. Tell EDGE to remove your name, and wash your hands of the project completely.|take your name off the film]]
(if: (history:) contains "Raise your funding goal")[[[Tell EDGE to remove your name from the documentary, but ask that they include the names of the people who supported your crowd-funding campaign. You promised your backers screen credit.|no name but yes backers]]](if: (history:) contains "Raise more than your funding goal")[[[Tell EDGE to remove your name from the documentary, but ask that they give a percentage of the film's profits to the people who supported your crowd-funding campaign. You have to honor your agreement with your backers.|no name but no backers]]]](else-if: (history:) contains "negotiate contract changes")[EDGE pairs you with one of their top editors and he begins work in one of their edit suites.
"Let him find the first cut," the Director of Documentary Programming tells you. "Then you can come in and review it." You agree.
In a few weeks, you come in to look at the assembly your editor is putting together. You can hardly believe your eyes: this editor has managed to take every squalid shot of refugee camps that you have -- crying children, people in rags, trash and chaos everywhere -- and put them in the cut, making things look as depressing as possible. He has put melodramatic music under everything. You hate it.
You tell the Director of Documentary Programming and he says, "I think this piece is looking great! It's perfect for our brand."
What should you do?
[[Accept his judgment, he's much more experienced than you are.|continue the edit]]
[[Tell him that you want a new editor, because in your contract it says that you get to determine final cut.|get a new editor]]](else-if: (history:) contains "let Marwan decide")[You don't have enough money to hire an editor, so you begin editing on your own. As you're working with a couple of the sound bites, you find that your subjects aren't saying exactly what you expected them to say. You see, though, that with some creative editing and use of b-roll, you can cut things together so that they do.
[[Cut the footage so that your subjects say what you'd like them to say, even if it's not what they said at the time.|edit sound bites]]
[[Cut the footage without manipulating what people are saying. You shouldn't alter the truth of what was said in the interview.|don't edit sound bites]]](else-if: (history:) contains "find Elias")[You don't have enough money to hire an editor, so you begin editing on your own. As you're working with a couple of the sound bites, you find that your subjects aren't saying exactly what you expected them to say. You see, though, that with some creative editing and use of b-roll, you can cut things together so that they do.
[[Cut the footage so that your subjects say what you'd like them to say, even if it's not what they said at the time.|edit sound bites]]
[[Cut the footage without manipulating what people are saying. You shouldn't alter the truth of what was said in the interview.|don't edit sound bites]]] (else-if: (history:) contains "Rima finishes the interview")[You don't have enough money to hire an editor, so you begin editing on your own. As you're working with a couple of the sound bites, you find that your subjects aren't saying exactly what you expected them to say. You see, though, that with some creative editing and use of b-roll, you can cut things together so that they do.
[[Cut the footage so that your subjects say what you'd like them to say, even if it's not what they said at the time.|edit sound bites]]
[[Cut the footage without manipulating what people are saying. You shouldn't alter the truth of what was said in the interview.|don't edit sound bites]]](else-if: (history:) contains "Rima finishes the interview 2")[You don't have enough money to hire an editor, so you begin editing on your own. As you're working with a couple of the sound bites, you find that your subjects aren't saying exactly what you expected them to say. You see, though, that with some creative editing and use of b-roll, you can cut things together so that they do.
[[Cut the footage so that your subjects say what you'd like them to say, even if it's not what they said at the time.|edit sound bites]]
[[Cut the footage without manipulating what people are saying. You shouldn't alter the truth of what was said in the interview.|don't edit sound bites]]](else:)[After weeks of trying to edit the footage together, you realize that there isn't any real story here out of which to make a documentary. You've failed.
[[Try again?|try again]]]
You decide it's more important to have the film make a clear point about the plight of refugees than to be true to what people said in interviews.
Once you get the rough cut to where you want it, you decide it's time to raise funding to finish the film.
[[Show the film to EDGE.|show cut to EDGE]]
[[Show the film to the World Refugee Organization.|show cut to the WRO]]
[[Show the film to PBS.|show cut to PBS]]
EDGE pairs you with one of their top editors and he begins work in one of their edit suites.
"Let him find the first cut," the Director of Documentary Programming tells you. "Then you can come in and review it." You agree.
In a few weeks, you come in to look at the assembly your editor is putting together. You can hardly believe your eyes: this editor has managed to take every squalid shot of refugee camps that you have -- crying children, people in rags, trash and chaos everywhere -- and put them in the cut, making things look as depressing as possible. He has put melodramatic music under everything. You hate it.
You find a new editor, someone whose work you admire. Together, you go back to your rough cut, and begin work there. (if: (history:) contains "edit sound bites")[The first thing he does is convince you that you should re-cut the scenes where you heavily edited the sound bites.
"It's never a good idea to manipulate the truth like that," he says.]
When you finish the documentary, it's broadcast on EDGE, and gets very good reviews.(if: (history:) contains "Rima participates with face blurring")[ Even though her face is blurred to obscure her identity, the part with Rima is powerful.](if: (history:) contains "find Elias")[ The scene with Elias is a high point. It shows that some refugees are doing well, and gives the film a happy ending.](if: (history:) contains "shopkeeper is unfriendly")[ Many critics applaud how you show the refugee crisis from both the perspective of the refugees and that of the local populace.]
(if: (history:) contains "Raise your funding goal")[ Your crowdfunding backers get their names in the credits and a copy of the film, so they are satisfied.](if: (history:) contains "Raise more than your funding goal")[ Unfortunately, EDGE won't pay anyone the percentage of the profits that you promised them in your crowdfunding campaign, and you don't make nearly enough to do that yourself. The crowdfunders are very upset. You try to explain the situation to them, but they don't forgive you. You've lost a lot of friends and potential future funders.](if: (history:) contains "Rima participates without face blurring")[ After the broadcast, you find out that, because of her appearance in the documentary, Rima and her family have been deported back to Syria. You feel terrible about this. You call her and offer to help her and her family in any way you can, but you still regret the choice you made not to blur her face.](if: (history:) contains "make deal with WRO")[ You receive an angry call from the World Refugee Organization(unless: (history:) contains "show cut to the WRO")[, because they did not like how the documentary turned out. "The way it portrays our work with refugees is not favorable, and it violates our contract with you," they say]. You end up having to pay them back their initial investment, in full.]
You take the film back to Lesbos and show it to the people you met there, who are very pleased with the final result. (if: (history:) contains "report guard")[The administrator to whom you reported the dangerous guard does a great job of publicizing the event. There is a huge, enthusiastic crowd at the screening, causing it to make the international news. ](else-if: (history:) contains "wait until tomorrow to report guard")[Returning reminds you about how you failed to report that dangerous guard, and this casts a shadow over the screening. ]Overall, the film is very successful,(if: (history:) contains "Rima participates without face blurring")[ although you're not sure you can forgive yourself for what you've done to Rima's family](else:)[ and you do feel good about what you've accomplished]. You've also learned a lot about what to do and what not to do next time you make a documentary.
[[Try again?|try again]]