ABSTRACT
The more interviews, events, and elements you must orchestrate in your documentary, the more experiment you will need to fully explore your material’s potential. Initially this means making the shots and topics labeled and thoroughly accessible. Take time to develop any indexes, graphics, guides, and color-coding you think will help, since this saves time and energy later for creative matters. This I learned as an editor for the soccer World Cup documentary Goal (Ross Devenish and Abidin Dino, UK, 1967), when hired to assemble the final game between England and West Germany. It comprised 70,000 feet (13 hours) of 35 mm film shot mostly silent from 17 camera positions. The only orientation was a shot of a clock face at the beginning of each 1,000-foot roll.
