Making documentaries is a major undertaking

I've now watched two of Ian Herring's documentaries. Both were high quality, excellent viewing, and displayed painstaking research.

For further information, visit Parallax Film Production; their website is here.

What follows is the second half of my interview of Ian. It seems that making a documentary is not a task that yields instant gratification.

5. What is the hardest part of making documentaries?

Raising the financing. It never gets easier. No matter how many award winning films and high rated shows you deliver you have to prove that your idea is worthy of financing each time.

Broadcasters will not commission a film unless they think it will deliver a large audience to viewers.    My partner, Maija Leivo keeps saying to me that we are only as good as our last film. The series we are currently in production on has taken nearly 20 years to find a broadcaster home.

6. Given an idea, how long does it take to bring a documentary to fruition?

On average a year to 4 years. Extraordinary circumstances – under a year.

7. What are you currently working on?

We are currently doing “Bahama Blue” a 6 part TV series for Oasis/Love Nature and Discovery Channel International.   It’s a wildlife series about the creatures that live within the Bahama’s that are completely hidden from the general public and few will ever see.    And in pre-production on a series set in World War 2.   More on that later.

8. Do you have a dream project in the back of your mind?

I would like to do a series on Canada’s role in the Vietnam war.   The Vets are still around and the ranks are thinning.   We are missing an opportunity to tell their stories while they are alive.  These are the ones who crossed the border and signed up and those who were in the USA and got drafted.   Fascinating and another overlooked story.   

As well I am a big fan of the story that became the film, Bridge on the River Kwai.   I would like to remake it bringing that remarkable story of the allied POW’s to a new generation.   It’s just a staggering story of man’s inhumanity and the humanity within all that.

9. What training did you have before getting into the business of making documentaries? Did you work for others before going out on your own?   

At the time film schools were few and far between so pursued an English degree from UBC. It taught me about story telling – and was able to transfer that to working in film and television.   Many people I work with today came through Journalism and Film School – but the strongest story tellers come from other programs, such as History.   Pursuing the study of story-telling through literature is a great training ground for dramatic story-telling and lay’s the ground work for the brand of entertainment that resonates with the entire world.

10. Are earlier projects available online, or for rent or purchase?   

Current projects are airing on various channels around the world but we don’t keep track.   Older titles are out of circulation.

A Documentary for a Canadian Hero

Lieutenant Robert Hampton Gray received the Victoria Cross for his heroics near the end of World War II. Lt. Gray was a British Columbian, a Canadian serving with the Royal Navy’s Fleet Air Arm. Killed in action on August 7^th, 1945, he is memorialized by a monument in Japan—the only monument on Japanese soil dedicated to a wartime enemy. Gray displayed amazing heroism and skill throughout the war, and was decorated for action against the Tirpitz and the Japanese, even before his last battle.

By sheer happenstance I met Ian Herring, a documentary-maker who happens to be Hampton Gray’s cousin. He produced a documentary/drama entitled “The Last Battle of Hampton Gray” which I found fascinating. I interviewed Ian, and broke his responses into two sections, the first of which follows:

1. How long have you been making documentaries?

Since 1990.

2. Was “The Last Battle of Hampton Gray” your first, or was that a subject you decided on after you had others under your belt?

I turned my attention to a documentary on Hampton around 2004.  I pitched it to History Television and was surprised at the positive reception.  Canadians tend not to celebrate stories of individual Canadians who stand out – especially during war.   

Our initial approach was to do a factual biography charting Hampton’s rise within the service - the stand out work he did during missions and the all or nothing ending to the his life and WW2.   I thought we had a good hook in that he was Hampton was the last Canadian to die in active service during WW 2 and the last VC recipient in Canada.   Turns out it wasn’t quite enough. 

Our commissioning editor at History Television felt the topic was perfect as an anniversary special for the end of WW2.   But she did not think a traditional biography telling Hampton’s story would be enough.  She suggested we do it as a POV film through my eyes – a personal recounting of Hampton as a cousin.  

I initially resisted that approach because I did not personally know Hampton.   The only connection I had was through his mother who would share press clippings and try to get me interested in his story – which as a young child, I found fascinating.   So how could I tell the story without really knowing him or personally meeting him?   We were able to agree that this could be a personal journey of me getting to know my cousin by retracing his steps through the war.  In this case I could focus on the impact he had on family, friends and the survivors who witnessed the final mission.

3. I seem to recall that Hampton Gray’s story, in a very abbreviated fashion, was taught in school at some point in BC. Can you tell me anything about that?   

That was before my time.  My experience of the Hampton story is through family.  I knew his mother and she would share stories, press clippings and try to convey his story.

4. The Japanese memorial to your cousin is very unique, being the only memorial to an enemy fighter in Japan. What is the most significant point regarding that, in your mind?

Clearly it’s the bringing together of former enemies – and their families.   His sister Phyillis Gautschi, neice Anne George and other family members were able to connect with the residents in the town of Onagawa – and those responsible for the memorial and its purpose.    (Onagawa is the closest residential area to the scene of the battle and it’s here where the memorial has been erected.)   I have very nice memories from my brief visit to Onagawa.   Canadian and Japanese governments and naval military services support the memorial.  It’s a fine example of  reconciliation.