A Producer’s Guide to Conducting On-Camera Interviews

Having recorded and conducted hundreds of on camera interviews, I wanted to share a few little tit-bits for those behind the camera conducting the interview. Some tips may seem obvious but they're all little hints that I have picked up over time nonetheless and wanted to share. Hope it helps! Should you be behind the camera or be the 'victim' in front of the camera (!) - for any further questions, fire away!

1. Ahead of filming

Ahead of filming, you may be asked by the interviewee / their team for a ‘script’ or list of questions. The more senior or known the person is, this is more likely. However, it is best to give a general idea of the film’s objectives or the types of questions you may ask as opposed to the exact questions, if possible. On-camera responses are much more natural and authentic (and therefore more engaging for the audience), the more natural and unstaged they appear. If overly rehearsed or scripted, the responses just don’t have the best delivery on camera. If the interviewee is nervous or unsure, reassure them by informing them that the interview will be more of a conversation, as opposed to a formal interview, and to maybe hold a call with them to build that rapport with them ahead of time, showing you to be approachable too.

Inform them that they need not rehearse. They have been selected to appear on camera for a reason and for their expertise. Assure them that if you bumped into them on the street and asked them a question about the subject matter, they wouldn’t stumble and would go straight into telling you all about it and this should be the same delivery for camera.

OK, so a camera, lights and a mic, will be present too, however, it is best to film pieces to camera with the interviewer sat beside the camera and with the interviewee responding directly to the interviewer as opposed to looking down the lens. Reassure them that they will be talking directly to you and not to camera, the camera can be ignored (this depends on the style of the end film of course).

Another element to consider is the issuing of filming release and consent forms. Often the client may have their own version too but this is a base to ensure is covered ahead of the day.

2. Prep on the day and recording

Repeat the reassurance from ‘Ahead of Filming.’ Even those who are seemingly more confident can lose their stride a little as soon as the camera is on. Remind them to look at you, the interviewer, and to not look down the lens at any time (again, depending on the style of the end film). Should they wish to see how they appear on camera before recording, flip the viewfinder over on the camera or show them on the monitor – only if they request this however as this can equally be off-putting.

?3. Eyeline

The camera operator will support with this too but with regard to eyeline, it is better that the interviewee looks directly at you. Always consider their eyeline and how this will appear on camera and in the end film. For example, if there is a distinct height difference between you and the interviewee then they will appear to be looking up at you or down at you – this doesn’t look great on camera. If this is the case, consider a seated interview. If they are seated, then you should be seated too, to the side of the camera. If standing, as strange as it sounds, consider standing on a box to match their height (the interviewer, not the interviewee). I am 5'3" and so this is sometimes a given for me! I am au fait with milk crates ;)

4. Soundcheck

Do a soundcheck – the camera operator or sound technician may instigate this but a standard question to ask during a soundcheck is, “what did you have for your breakfast this morning?” – this is always a good ice-breaker too!

5. Continue to build that rapport

Build the rapport with the interviewee during set up. Chat to them about their day or their weekend whilst the camera operator sets the shot and whilst the interviewee is being positioned in the frame, this will also support the preferred, natural on-camera response.

6. Should the interviewee need to refer to notes

Should the interviewee enquire about referring to any notes during filming, allow them the opportunity to look at them in between questions should they really need (if the interview isn't live of course!) albeit, do ensure that they are not used as a crutch or something they look at whilst responding. If they subconsciously look at them, make a little joke and say you are taking them away, and do! Certainly don’t allow them to hold them during filming, only between takes, as it isn’t simply an eyeline problem but also a sound problem.

7. A natural conversation

Again, conduct the interview as a natural conversation as opposed to a list of questions. Yes, you may be tied to asking very particular questions but do ask off-spec questions too as you may well get a better response to your previous question this way. For example:

Interviewer (set question):

Your five-year plan is really interesting, can you tell us all about it?

(also note that the way the question is posed is much more conversational than, “What is your five-year plan?”)

Interviewee: We will start by looking at our carbon footprint whilst also looking at X, Y, Z…..

Interviewer (off-spec question based on previous response):

Oh, that’s interesting, so where do you even begin when looking to reduce the company’s carbon footprint? What was your starting point?

This delivery also ensures that the interviewee appears more engaged and alive when responding as you are also demonstrating that you are listening to their responses and are interested and engaged yourself. In turn, they will be much more comfortable and engaging on camera (a plus for the audience and the objectives of the film too).

8. Ensuring interviewees answer with context & rephrasing the question

Should the questions themselves not be appearing in the film then you will need to prep the interviewee to answer with a statement response as opposed to a one-word answer or an answer without context. Give them an example if they’re not sure – tell them if you ask what colour their hair is, not to simply answer with ‘black’, the ideal response would be, ‘my hair is black.’ Essentially, their answer needs to make sense without the question being heard.

Listen out for this when recording too. Don’t be afraid to ask that they do it again but offering a bit of context. If they do this a few times, instead of making a point of them responding incorrectly (which can affect their response altogether if they begin to lose confidence or second guess themselves), find a way to rephrase the question so that you get the desired response. This should be the same approach if they don’t offer a reasonable response for any reason – rephrase the question. If you know you need them to offer a very particular answer for the purpose of the end film, continue asking questions in the conversational style that allows them to say what you need. For example:

Interviewer (initial question asked):

What would you say is your favourite part of your role?

Interviewee (not quite the desired response for the end film):

I like the people.

Interviewer (to get a more enthusiastic, more detailed response):

Yes, the people seem great. What is so great about the team you work with? Tell us more about the culture here, it seems really vibrant.

Don’t simply move onto the next question on your list until you feel you have the desired response per question.

If not live, inform the interviewee that they can stop and start at any point. If they do stop at any moment, you will find that many people will apologise for doing so. Keep reassuring them that this is absolutely fine to ensure that their confidence isn’t lost and that you keep the rapport with them. Also make a little note of which take you want to go with for Edit. Should they stop and start again because they have stated an incorrect fact e.g., “Our profit was ￡2million last year” but they need to repeat the response because it was in fact 2.5million, then again, make a note of this for Edit. It seems really obvious but these are the little things that make a difference!

9. Keep people in the filming area to a minimum

In respect of confidence, also ensure that there aren’t people in the room who aren’t required for the shoot. If additional people are needed in the room e.g., a Comms or PR representative, then ask that they aren’t in the eyeline of the interviewee as this can be really distracting. Also ask that Comms or PR representatives keep any comments for AFTER an interviewee’s response as opposed to midway. At the end of a response, ask Comms, ‘Was that OK for you?’ but make sure they don’t try to put words into the interviewee’s mouth. Let the interviewee find their own style of delivery and their own words. It mustn’t feel scripted, forced or un-natural. Audiences don’t engage with this. Comms and PR representatives do of course have all the facts required for a response and so do check in with them for fact-checking.

10. Key messages, film objectives and the audience

Always go into filming knowing exactly what the key messages to come through are, the objective and purpose of the end film and who the audience is, as well as what the questions are that the film needs to answer. If not sure, ask the client ahead of filming. For example, if a film is about a new team in place, the audience may be an internal one and may need to know why the new team was set up, their main purpose and goals, as well as hopes for the future and how they will work alongside current teams – the questions should therefore be tailored to this.

11. Begin with ‘easier’ questions

Consider asking ‘easier’ questions first to ensure the interviewee builds up confidence in front of the camera and also builds up a trust with yourself ahead of any more awkward / difficult / more poignant questions that may follow later.

12. Consider the end edit when filming & cutaways

When filming, always think of what the editor needs from the footage too. Imagine cut-points as you film. Consider asking the camera operator to cut between questions so it is easier for the editor / yourself when looking through the raw footage to produce edit notes, as opposed to watching through lengthy rushes to ascertain the best soundbites. For this purpose, also log as much as you can when filming. Should you not have an assistant or runner on a shoot who can make edit notes for you when you need to maintain eye contact with the interviewee, make a few succinct notes between questions detailing key soundbites you’d like to keep in etc and whilst their response is fresh in your mind.

Also consider cutaways when thinking of the end film. These are exactly that – shots to cut away to that are relevant to an interviewee’s response and that support in audience engagement and understanding of the content. Hearing and seeing someone simply speak isn’t always the most engaging of content, a diverse series of shots to support their soundbites is preferable. For example, should the interviewee be talking about their team – film their team at work (with permission of course), if talking about a particular product – get shots of the product and the product in use. If it isn’t possible to capture certain elements on the day on film, consider asking the interviewee if any visual assets can be provided to support their responses – still images, footage they may have etc (again, providing the image owners, if the not the interviewee, offer the relevant permissions). Should an interviewee talk about a previous incident, for example, if it suits the film style and purpose, then consider mocking the incident up for camera – this doesn’t necessarily require actors, this can simply be a case of capturing point of view shots or asking that someone step in to act as a pair of hands on camera to re-enact an element, if filming on more of a budget.

In the absence of cutaways, consider capturing some elements again without audio following the interview – having them chat to you about anything at all, telling you a joke perhaps so that we see them smile (if appropriate to the content) – ask the camera operator to remove the mic and switch off the audio but capture these elements as optional cutaways. If a sentimental or poignant piece, following the interview, shoot a conversation with the interviewee where they recap a little (again without audio at this stage) so that they move their hands as they did for the interview and then film close-ups of their gestures – a serious piece may mean they rubbed their hands a little as they were a little uncomfortable talking through a particular subject matter – film this gesture close-up to potentially cut away to in edit.

13. Natural gesticulators

Should the interviewee be a natural gesticulator that is fine, try not to refrain them in asking them to be still. It is more important that they are completely themselves and feel as comfortable and as natural as possible. The more they worry about not moving their hands when they talk, the more they will appear nervous and on edge. Don’t be afraid to ask if they are a natural gesticulator when setting up – if they are, consider where the mic is placed, if a radio or line mic, so that they are less likely to knock it or rub it each time they move their hands. Also consider framing the shot a little wider if they are someone that can’t quite sit or stand still. The camera operator will support with framing this too. Do make sure they stay in shot however ;)

14. Point out mistakes carefully

Never point out little quirks a person may have and never point out errors to them. If they make a mistake when responding, don’t label it as such, if they ‘um, ah, and er’ in between talking, don’t pick them up on it. Again, simply find a way to rephrase the question or say that you need to ask a certain question again due to a sound issue. As soon as someone has lost their confidence in front of camera, it is hard to get it back and likely they won’t get it back, especially if under time pressure to capture the interview. With regard to ‘ums and errs’, whilst clients don’t always like to include these in a film, often it is a person’s natural delivery. It can sometimes be possible to remove some of these in Edit but not always and so again, consider the end edit when interviewing. If you feel a certain delivery takes away from the content of the interview, again, consider the footage you have to cut away to whilst we hear their audio. Think of a way you can establish the interviewee on screen and then cut away to relevant footage before coming back to them on screen.

?15. Knowing when to cut during filming & ensuring a summarised response

Equally, don’t be afraid to cut once you know you have the desired response/s. There is no point overshooting and offering more footage to Edit than is required. If you feel the interviewee ‘nailed’ a response early on, do cut. Less is definitely more. If a film is to be two minutes long, however, and is only to be made up of talking heads / pieces to camera / vox pops without the presence of a voiceover or additional content then consider interviewing other people in the team to intercut between in Post and consider additional shots that may be relevant to the context and content of the interviews.

Equally, however, should an interviewee offer a very lengthy response, either think of a good cut-point whereby they answered the question in their first sentence or don’t be afraid to ask them again but ask them to summarise. Many people need a little support in offering short, snappy responses / soundbites that are succinct enough for a film. Ask the question again and maybe ask them to state the ‘top three reasons’ or ‘key highlights’. If you need to stop them halfway through because they have already answered the question and you need to keep them to time / not overshoot, it is possible to politely say, ‘you covered it, that was great!’ and then move onto the next question.

16. Interviewing two people together

Should you be interviewing two people together, unless it is vital that they are interviewed together, there are times it is best to advise against this (it doesn't always look great on screen in honesty!) and, instead, advise that they are interviewed separately, intercutting between them in Post. Two people together can look awkward on-screen and doesn’t make for a very aesthetically pleasing shot and, often, the person not talking can look bored or disengaged. If two (or more) people are filmed together then lay a few little polite rules out at the outset – advise that when one person is speaking, then it is vital that the person not speaking nods a little (as naturally as possible!) and looks engaged, not bored – even if not bored, they can look bored on camera! If a one-camera shoot, ask that the camera operator cuts between questions too to reset the shot – this ensures that the two can be filmed together as a wide shot but that close-ups can also be captured of each person. If filming the two, it is advisable that they wait for the other person to stop talking first. Ideally, ask all the questions of one interviewee before moving onto the second person, don’t flit between interviewees as this makes it harder for the camera operator and in Post.

17. Filming multiple interviews

If filming a series of interviews with multiple interviewees, ideally change the eyeline per interview, for example, if one interviewee looked to the right side of the camera (with you, the interviewer sat on the right), for the next interview, move to the left so that they look to the left of the camera – this allows for a diversity of shots in the end film. It isn’t too much of a concern if this isn’t the case as shots can be flipped in Post, however, should the interviewee have text behind them, this will appear the wrong way round if flipped in Post and so it is best to change sides each time or arrange to record three to the right and three to the left, for example.

18. Listen

The biggest skill when interviewing however is listening. Listen fully to the interviewee’s response, don’t simply presume that they are offering the desired response. Not only that, but if listening, as you would when in conversation, there may be other roads you can go down in respect of the conversation that are beneficial for the end film. For example, they may start offering a really interesting anecdote that audience members will engage with and that may in fact work better for the end film and that you can ask additional questions on. If you listen and engage with the response then you can adopt the conversational interview style, again, making for a more engaging film. Equally, you may need to make a note of a particular soundbite that really works for the film or indeed you may need to make a note of a relevant cutaway you now need to capture to emphasise the response. In addition, if the interviewee really feels you are listening, they are more likely to respond to you better and this will hugely benefit the film.

19. Don’t be afraid to adlib

To reiterate, don’t simply follow a script. Again, yes, there will be particular questions you must ask but don’t be afraid of adlibbing questions a little to get a ‘better’, more natural response.

20. Think from the audience up

Ask yourself: Do I have everything I need here to make the correct points to the audience and do I have enough additional footage to support that too?

21. Following the shoot / Items to consider for Post

You may only be working with a small crew on some shoots and may therefore find that you are also the one writing a few edits notes as you record or when logging the raw footage in Post ahead of the edit.

If going through the raw footage to provide edit notes to the editor, make notes of timecodes and of the SD card used –

e.g., Card FS01 – use 00:08 – 00:23.

In addition, make reference to any cutaways relevant to that segment,

e.g., Cut away to the shot of the factory here on card FS02 – 02:03 – 02:10. Or:

The interviewee is supplying a still image to support her response here.

Equally, edit notes are essential if a multiple camera shoot.

Ensure the editor/s also has sight of the objectives of the film and of the desired tone. Also mention the ideal film length and whether any additional cutdowns are required e.g., main film required at two-minutes plus a 20s cutdown version for social. If you are aware of the social channels it will appear on, or indeed if the film is to be played out on a large screen, for example, make a note of these too as this determines the film’s format / screen ratio. It will also determine the relevant music license required. Ensure you have this information regarding the end requirements ahead of shooting too as it may also determine the format in which it is shot.

Also include the names of those who were interviewed, the order they were interviewed in alongside the titles they wish to include in their on-screen namestraps / lower thirds. Also reference any branding guidelines that need to be adhered to – fonts, Pantone colours, logos etc.

I hope that offers a little guidance and that it supports!

Do ask away if not or should you wish to see anything else covered!

Louise Jones