Showing posts with label Media Literacy. Show all posts
Showing posts with label Media Literacy. Show all posts

Thursday, 13 September 2018

How Australia’s Proposed Surveillance Laws Will Break The Trust Tech Depends On


In the last few years, we’ve discovered just how much trust - whether we like it or not - we have all been obliged to place in modern technology. Third-party software, of unknown composition and security, runs on everything around us: from the phones we carry around, to the smart devices with microphones and cameras in our homes and offices, to voting machines, to critical infrastructure. The insecurity of much of that technology, and increasingly discomforting motives of the tech giants that control it from afar, has rightly shaken many of us.

But the latest challenge to our collective security comes not from Facebook or Google or Russian hackers or Cambridge Analytica: it comes from the Australian government. Their new proposed “Access and Assistance” bill would require the operators of all of that technology to comply with broad and secret government orders, free from liability, and hidden from independent oversight. Software could be rewritten to spy on end-users; websites re-engineered to deliver spyware. Our technology would have to serve two masters: their customers, and what a broad array of Australian government departments decides are the “interests of Australia’s national security.” Australia would not be the last to demand these powers: a long line of countries are waiting to demand the same kind of “assistance.”

In fact, Australia is not the first nation to think of granting itself such powers, even in the West. In 2016, the British government took advantage of the country’s political chaos at the time to push through, largely untouched, the first post-Snowden law that expanded not contracted Western domestic spying powers. At the time, EFF warned of its dangers —- particularly orders called “technical capability notices”, which could allow the UK to demand modifications to tech companies’ hardware, software, and services to deliver spyware or place backdoors in secure communications systems. These notices would remain secret from the public.

Last year we predicted that the other members of Five Eyes (the intelligence-sharing coalition of Canada, New Zealand, Australia, the United Kingdom, and the United States) might take the UK law as a template for their own proposals, and that Britain “… will certainly be joined by Australia” in proposing IPA-like powers.

That’s now happened. This month, in the midst of a similar period of domestic political chaos, the Australian government introduced their proposal for the “Telecommunications and Other Legislation Amendment (Assistance and Access) Bill 2018.” The bill unashamedly lifts its terminology and intent from the British law.

But if the Australian law has taken elements of the British bill, it has also whittled them into a far sharper tool. The UK bill created a hodge-podge of new powers; Australia’s bill recognizes the key new powers in the IPA and has zeroed in on their key abilities: those of assistance and access.

If this bill passes, Australia will - like the UK - be able to demand complete assistance in conducting surveillance and planting spyware, from a vast slice of the Internet tech sector and beyond. Rather than having to come up with ways to undermine the increasing security of the Net, Australia can now simply demand that the creators or maintainers of that technology re-engineer it as they ask.

It’s worth underlining here just how sweeping such a power is. To give one example: our smartphones are a mass of sensors. They have microphones and cameras, GPS locators, fingerprint and facial scanners. The behaviour of those sensors is only loosely tied to what their user interfaces tell us.

Australia seeks to give its law enforcement, border and intelligence services, the power to order the creators and maintainers of those tools to do “acts and things” to protect “the interests of Australia’s national security, the interests of Australia’s foreign relations or the interests of Australia’s national economic well-being”.

The “acts and things” are largely unspecified - but they include enabling surveillance, hacking into computers, and remotely pulling data from private computers and public networks.

The range of people who would have to secretly comply with these orders is vast. The orders can be served on any “designated communications provider”, which includes telcos and ISPs, but is also defined to include a “person [who] develops, supplies or updates software used, for use, or likely to be used, in connection with: (a) a listed carriage service; or (b) an electronic service that has one or more end users in Australia”; or a “person [who] manufactures or supplies customer equipment for use, or likely to be used, in Australia”.

Examples of electronic services may “include websites and chat fora, secure messaging applications, hosting services including cloud and web hosting, peer-to-peer sharing platforms and email distribution lists, and others.”

You can see the full list in the draft bill in section 317C, page 16.

As Mark Nottingham, co-chair of the IETF’s HTTP group and member of the Internet Architecture Board, notes, this seems to include “Everyone who’s ever written an app or hosted a Web site - worldwide, since one Australian user is the trigger - is a potential recipient, whether they’re a multimillion dollar company or a hobbyist.” It includes Debian ftpmasters, and Linux developers; Mozilla or Microsoft; certificate authorities like Let’s Encrypt, or DNS providers.

This is not an error: when we were critiquing a similarly broad definition in the UK’s IPA, we pointed out that the wording would allow the authorities to target a particular developer at a company (while requiring them to not inform their boss), or non-technical bystander who would not know the impact of what they were being asked to do. Commentators from close to GCHQ denied this would be the case and said that this would be clarified in later documents - but subsequent draft codes of practice actually doubled down on the breadth of the orders, saying that it was deliberately broad, and that even café owners who operated a wifi hotspot could be served with an order.

There are some signs that the companies affected by these orders have learned the lesson of the IPA, and pushed back during the Assistance and Access’s preliminary stages. Unlike the UK bill, there are clauses forbidding Australia from being required to “implement or build [a] systemic weakness or systemic vulnerability into a form of electronic protection” (S.317ZG); and preventing actions in some cases that would cause material loss to others lawfully using a targeted computer (e.g. S.199 (3), pg 163. Companies have an opportunity to be paid for their troubles, and billing departments can’t be targeted. There is some attempt to prevent government agencies forcing providers to “make false or misleading statements or engage in dishonest conduct”(S.317E).

But these are tiny exceptions in a sea of permissions, and easily circumvented. You may not have to make false statements, but if you “disclose information”, the penalty is five years’ imprisonment (S.317ZF). What is a “systemic weakness” is determined entirely by the government. There is no independent judicial oversight. Even counselling an ISP or telco to not comply with an assistance or capability order is a civil offence.

If the passage of the UK surveillance law is any guide, Australian officials will insist that while the language is broad, no harm is intended, and the more reasonable, narrower interpretations were meant. But none of those protestations will result in amendments to the law: because Australia, like Britain, wants the luxury of broad, and secret powers. There will be - and can be no true oversight - and the kind of malpractice we have seen in the surveillance programs of the U.S. and U.K. intelligence services will spread to Australia’s law enforcement. Trust and security in the Australian corner of the Internet will diminish - and other countries will follow the lead of the anglophone nations in demanding full and secret control over the technology, the personal data, and the individual innovators of the Internet.


“The government,” says Australia’s Department of Home Affairs web site, “welcomes your feedback” on the bill. Comments are due by September 10th. If you are affected by this law - and you almost certainly are - you should read the bill, and write to the Australian government to rethink this disastrous proposal. We need more trust and security in the future of the Internet, not less. This is a bill that will breed digital distrust, and undermine the security of us all.

Wednesday, 22 August 2018

Friday, 8 June 2018

60 Free Film Noir Movies


noir film pic
During the 1940s and 50s, Hollywood entered a “noir” period, producing riveting films based on hard-boiled fiction. These films were set in dark locations and shot in a black & white aesthetic that fit like a glove. Hardened men wore fedoras and forever smoked cigarettes. Women played the femme fatale role brilliantly. Love was the surest way to death. All of these elements figured into what Roger Ebert calls “the most American film genre” in his short Guide to Film Noir. In this growing list, we gather together the noir films available online. They all appear in our big collection 1,150 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc.. You might also enjoy perusing our list of 20+ Free Hitchcock Films.

·       A Life at Stake - Free - Directed by Paul Guilfoyle, this American noir film stars Angela Lansbury and Keith Andes. (1954)
·       Beat the Devil – Free – Directed by John Huston and starring Humphrey Bogart, the film is something of a comic and dramatic spoof of the film noir tradition. (1953)
·       Behind Green Lights - Free - Stars Carole Landis, John Ireland. Police lieutenant Sam Carson investigates a political murder after the victim is dumped at the door of police headquarters. (1946)
·       Big Bluff Free - Directed by W. Lee Wilder. When a scheming fortune hunter finds his rich wife is not going to die as expected, he and his lover make other plans to get her millions. (1950)
·       Blonde Ice - Free - A society reporter keeps herself in the headlines by marrying a series of wealthy men. They all die mysteriously afterwards though. (1948)
·       Borderline - Free - Fred MacMurray and Claire Trevor are caught in Mexican dope-smuggling ring, fearing each other is involved, but both undercover agents. Alternate version. (1950)
·       Cause for Alarm! - Free - Ellen (Loretta Young) narrates the tale of "the most terrifying day of my life", how she was taking care of her bedridden husband George Z. Jones (Barry Sullivan) when he suddenly dropped dead. (1951)
·       Club Paradise - Free - The film, also known as Sensation Hunters, was directed by Christy Cabanne. The story: a touching story of girl who like many others makes the wrong choice in life – and pays for it. (1945)
·       Convict's Code - Free - An ex-con is employed by the man who framed him for bank robbery. Directed by Lambert Hillyer. Starring Robert Kent and Anne Nage. (1939)
·       Dementia - Free - Also called Daughter of Horror, this film by John Parker incorporated elements of horror film, film noir and expressionist film. About the film, Cahiers du cinema wrote "To what degree this film is a work of art, we are not certain but, in any case, it is strong stuff." (1955)
·       Detour Free - Edgar Ulmer’s cult classic noir film shot in 6 days. (1945)
·       D.O.A. - Free - Rudolph Maté's classic noir film. Called “one of the most accomplished, innovative, and downright twisted entrants to the film noir genre.” You can also watch the movie here. (1950)
·       Fear in the Night - Free - Low budget noir film directed by Maxwell Shane & starring Paul Kelly and DeForest Kelley. It is based on the Cornell Woolrich story "And So to Death". (1947)
·       Five Minutes to Live - Free - Amazing bank heist movie stars Johnny Cash, Vic Tayback, Ron Howard, and country music great, Merle Travis. (1961)
·       Guest in the House - Free - Directed by John Brahm, the noir film stars Anne Baxter, Ralph Bellamy, Aline MacMahon. (1946)
·       He Walked by Night – Free – Film-noir drama, told in semi-documentary style, follows police on the hunt for a resourceful criminal. This move became the basis for "Dragnet," and stars Jack Webb. Archive.org version here. (1948)
·       Impact - Free - Arthur Lubin’s well reviewed noir flic. Considered a little known classic you need to watch. (1940)
·       Inner Sanctum - Free -  A gripping noir film about "a murderer who is on the lam and hiding out in a small town. Unbeknownst to him, he is not only hiding in the same boarding house as the only witness to his crime, he is sharing the same room." (1948)
·       Jigsaw Free - Directed by Fletcher Markle, and starring Franchot Tone, Jean Wallace and Marc Lawrence, the film features cameo appearances by Marlene Dietrich and Henry Fonda. (1949)
·       Johnny O'Clock - Free - Directed by Robert Rossen, based on a story by Milton Holmes. The drama features Dick Powell, Evelyn Keyes, and Lee J. Cobb, with Jeff Chandler making his film debut in a small role. (1947)
·       Kansas City Confidential – Free – A film noir gem that inspired Quentin Tarantino’s “Reservoir Dogs.” (1953)
·       Key Lime Pie - Free – A zany animated film in the noir tradition. (2007)
·       Lady Gangster - Free - Warner Bros. B picture directed by Robert Florey based on the play Gangstress, or Women in Prison, by Dorothy Mackaye, Stars: Faye Emerson, Julie Bishop, Frank Wilcox, Roland Drew, and Jackie C. Gleason. (1942)
·       Man in the Attic - Free - Jack Palance as Jack the Ripper! (1954)
·       Parole, Inc. - Free - Parole officers fight against gangsters trying to infiltrate the parole system. (1948)
·       Please Murder Me – Free – Lawyer Raymond Burr  brilliantly defends Angela Lansbury in 1950s noir film. (1956)
·       Port of New York Free - Two narcotics agents go after a gang of murderous drug dealers who use ships docking at the New York harbor to smuggle in their contraband. First film in which Yul Brynner appeared. (1949)
·       Quicksand Free - Peter Lorre and Mickey Rooney star in a story about a garage mechanic's descent into crime. (1950)
·       Scarlet Street - Free - Directed by Fritz Lang with Edward G. Robinson. A film noir great. (1945)
·       Shock Free –This film noir tells the story of psychiatrist Dr. Cross (Vincent Price), who is treating Janet Stewart (Anabel Shaw), a young woman who is in a catatonic state. The coma was brought on when she heard loud arguing, went to her window, and saw a man strike his wife with a candlestick and kill her. Alternate version found here. (1946)
·       Shoot to Kill - Free - Gangster framed by crooked DA. Wife and newspaper reporter team up. (1947)
·       Strange Illusion - Free - B-movie update of “Hamlet” has troubled teen Jimmy Lydon doubting smooth-talker Warren Williams who is wooing his mother. (1945)
·       Suddenly - Free - Buy DVD - Noir film with Frank Sinatra and James Gleason. The story line influenced The Manchurian Candidate, which again starred Sinatra. (1954)
·       The Amazing Mr. X Free - Noir film directed by Bernard Vorhaus with cinematography by John Alton. The film tells the story of a phony spiritualist racket. (1948).
·       The Basketball Fix - Free - A college basketball star collaborates with organized crime and becomes involved in 'point shaving.' A sportswriter tries to get him back on the right track. (1951)
·       The Big Combo Free - Directed by Joseph Lewis, this film is today considered a noir classic. Critics like to focus on cinematography of John Alton, a noir icon. (1955)
·       The Capture - Free - Lew Ayres is an oil man who guns down a thief who may have been innocent. (1950)
·       The Chase - Free - An American noir film directed by Arthur Ripley, based on the Cornell Woolrich novel The Black Path of Fear.
·       The File on Thelma Jordan Free - This noir directed by Robert Siodmak features Barbara Stanwyck and Wendell Corey.  At the time Variety said, "Thelma Jordon unfolds as an interesting, femme-slanted melodrama, told with a lot of restrained excitement." (1950)
·       The Great Flamarion - Free - Vaudeville star Erich von Stroheim entangled with married assistant. Directed by Anthony Mann. (1945)
·       The Green Glove Free - A World War II veteran in France, played by Glen Ford, gets mixed up in murder while investigating a stolen treasure. Directed by Rudolph Maté. Alternate version on YouTube available here. (1952)
·       The Hitch-Hiker Free - Buy DVD - The first noir film made by a woman noir director, Ida Lupino. (1953)
·       The Hoodlum - Free - Lawrence Tierney ("Reservoir Dogs") plays an unreformed, hardened criminal who has just been released from prison. While working at his brother's gas station, he becomes very interested in the armored car that makes regular stops at the bank across the street. (1951)
·       The Limping Man Free - Stars Lloyd Bridges and Moira Lister. A WWII veteran goes back to England after the war only to discover that his wartime sweetheart has got mixed up with a dangerous spy ring. (1953)
·       The Man Who Cheated Himself - Free - Some call it "an under-appreciated and little known gem."  Stars Lee J. Cobb, John Dall, Jane Wyatt, and Lisa Howard.  YouTube version here. (1951)
·       The Naked Kiss Free - Constance Towers is a prostitute trying to start a new life in a small town. Directed by Sam Fuller. (1964)
·       The Payoff - Free - Directed by Robert Florey. James Dunn (known for his role in A Tree Grows in Brooklyn) plays a newspaper reporter promoted to the sports desk, but saddled with a wife whose spending habits drive her into a relationship with a blackmailing racketeer. (1935)
·       The Red House - Free - A noir psychological thriller starring Edward G. Robinson. Here's the gist of the plot: "An old man and his sister are concealing a terrible secret from their adopted teen daughter, concerning a hidden abandon farmhouse, located deep in the woods." (1947)
·       The Saint Louis Bank Robbery – Free – Steve McQueen stars in a "gritty, downbeat, and sometimes savage heist movie." (1959)
·       The Scar (aka Hollow Triumph) - Free - Just released from prison, John Muller (Paul Henreid) masterminds a holdup at an illegal casino run by Rocky Stansyck. The robbery goes bad, and the mobsters captured some of Muller's men and force them to identify the rest before killing them.
·       The Second Woman - Free - Directed by James Kern and starring Betsy Drake, this lesser known noir film gets some good reviews. (1951)
·       The Strange Love of Martha Ivers – Free – Noir film starting Barbara Stanwyck, Van Heflin and Kirk Douglas. Entered into 1947 Cannes Film Festival. (1946)
·       The Strange Woman - Free - Edgar G. Ulmer's femme fatale film starring Hedy Lamarr. (1946)
·       The Stranger Free - Buy DVD - Directed by Orson Welles with Edward G. Robinson. One of Welles's major commercial successes. (1946)
·       They Made Me a Criminal - Free - Boxer John Garfield flees believing he has committed a murder while he was drunk. Pursued by Claude Rains, he meets up with the Dead End Kids. (1939)
·       They Made Me a Killer - Free - A fugitive receives help from a victim's sister (Barbara Britton) as he tries to clear his name of robbery and murder charges. (1946)
·       Three Steps North - Free - After a prison sentence an American GI stationed in Italy (Lloyd Bridges) discovers that his hidden loot has disappeared and goes searching for it. Directed by W. Lee Wilder. (1951)
·       Time Table - Free - After the theft of $500,000 in a carefully executed train robbery, an insurance investigator (Mark Stevens, who also doubled as director and producer) is forced to cancel a planned vacation with his wife to assist a railroad detective in identifying the culprits and recovering the money. Alternate version here. (1956)
·       Too Late for Tears – Free – Directed by Byron Haskin and based on a novel by Roy Huggins, Too Late for Tears is pure noir. (1949)
·       Trapped Free - Starring Lloyd Bridges and Barbara Payton, the plot of this B noir film turns around a counterfeiting ring. (1949)
·       Walk The Dark Street - Free - An Army officer and a hunter engage in a simulated manhunt with one using real bullets in Los Angeles. (1956)
·       Whispering City - Free - A Canadian noir, directed by Fyodor Otsep, starring Paul Lukas and Mary Anderson. (1947)
·       Whistle Stop Free - Buy DVD – A noir flic with Ava Gardner. Love triangle leads to murder. (1946)
·       Woman on the Run Free - After Frank Johnson (Ross Elliott) is the sole witness to a gangland murder, he goes into hiding and is trailed by Police Inspector Ferris (Robert Keith), his wife, Eleanor (Ann Sheridan), and newspaperman, Danny Leggett (Dennis O'Keefe). YouTube version here. (1950)
For more free films, please visit our big collection of Free Movies Online.


Wednesday, 30 May 2018

Watch: 100 Filmmaking Tips, Tricks, and Hacks in Under 10 Minutes

Hold on to your hats! Here are 100 tips, tricks, and hacks that you can use on 
your next project.

In filmmaking, we all need a little help along the way, and sometimes, we need that help to come in tiny bite-size portions that pair well with our short attention spans and ability to get the gist of just about anything within seconds. Well in their latest video, The Film Look unfurls 100 tips, tricks, and hacks for filmmakers like little fortune cookies, giving you a ton of short but oh so sweet advice on how to do a myriad of things from labeling batteries to properly handing off expensive equipment. Gorge yourself below:



Now, that's a lot of fortune cookies! There are tons of great pieces of advice in the video, especially for those who are just starting out. I mean, let's get real; when you're a newbie, you want and need to learn everything about the craft. The Film Look covers all phases of production in their video compendium, from screenwriting to editing, so you're definitely going to learn a little bit of everything.

And for all of you more experienced folk, maybe most of this stuff was a review for you, but hopefully, you found at least a handful of things in the video that will help you on your next project. 

What about you? What are your top five filmmaking tips, tricks, and hacks that you've learned over the years? Let us know down in the comments below! 

Reblogged via No Film School

Tuesday, 26 September 2017

Understanding the Formatting of a Screenplay (and Why It All Matters)



Most filmmakers know scripts follow a very particular format, but do they know why they do?
Thanks to all of the low-cost/free screenwriting programs that are available nowadays, writers don't have to think too hard about formatting when penning scripts. However, understanding what all of the different formatting components are, like slug lines and action, as well as why they're formatted the way they are is important for making sure that your story is not only organized and clear but that it adheres to industry standards. This video from StudioBinder helps demystify many of the basic formatting rules as well as several obscure ones in screenwriting. Check it out below:



Again, screenwriting software like Final Draft, Celtx, and WriterDuet make it easy to not concern yourself with script format too much, but it's still important to learn. You may not have to worry about margins, typeface, or indentations, but you'll still need to know how to write action, dialogue, as well as what a slug line is and why the information included in it is so important.

Because even if you understand everything that's going on in your screenplay when it comes to formatting, there will (hopefully) be other people looking at it that may not. Remember, if your script gets selected to be turned into an actual film, it will need to be turned into a script breakdown sheet. So, if you don't take care being clear and concise with your slug lines, action, and dialogue then the director, DP, and 1st AD will have a hard time doing their job.

Luckily, screenplay formatting isn't rocket science. It just takes a little effort to wrap your head around several key concepts and elements...and once you do, you're off to the races.      

Sunday, 13 August 2017

How to Film Interviews



Ask yourself:
What is the subject/purpose/theme of my film?
What are some good questions I can ask my interviewees?
Why am I conducting these interviews; what do I hope to gain from this?
Where do I want to take this film or what do I want to do with it when I'm done?
Who do I want to film?
Do I want to be on or off camera when I ask the questions?

Watch television or documentary interviews.

Try to find films or television shows that have a similar subject to yours or that offer a style you hope to imitate.

Ask yourself these questions when viewing:
How is the interviewer asking their questions?
Where is the interviewee looking when answering the questions?
Where is the camera's focus?
Where is the light hitting on the subject's face?
How close or tight is the camera shot?
At what angle is the camera pointed and what angle is the interviewee sitting in relationship to the camera?

Prepare your interview questions.
Have at least 10 to 20 good questions prepared, and be prepared to ask more on the fly.
Be prepared to stray from the questions you have written down; your interviewee might offer information that you weren't expecting taking you in an entirely different, yet more interesting, direction.
Start with topical questions that will make your subject feel at ease; e.g., "What is your name?" "Where are you from?" These kinds of questions are easy for the interviewee to answer, which will help them to feel comfortable.
Save the hard questions for the tail end of the interview. A person tends to forget the purpose of the questioning and becomes more comfortable talking with you in front of a camera after about ten minutes.

Find willing participants.
The biggest fear of anyone that agrees to be on camera, is that the person interviewing them will make them look like a fool.
Be upfront with your interviewee with what you are doing and why you're doing it.
It is imperative that your subjects are okay with you asking them questions and comfortable with the idea of a camera being pointed at them. If they're not, you will have a resistant person and the interview will be difficult.
Some people will want a list of the questions before they agree to do the interview. They would not be what you would call an open-minded or willing participant. Think of them as apprehensive and consider asking someone more agreeable.

Filming the Interview

Have the set ready.

Your interview location and background are as important as the interview.
Know if you want the set to play a role and shape the tone of the interview, or if you want the subject to pop out from the plain or dark background.
Let the interview subject know you are not wasting their time. Have a place for your subject to sit and all the lighting in place at least 15 minutes prior to their arrival.
Adjust the lighting based on your subject's height and what they're wearing.
Place the camera where you want it to be before they arrive. Plan to adjust the height of the tripod and the camera settings once your subject is in place.
Have the camera on and be ready to shoot before the subject arrives.
Be prepared for last minute changes. Rarely do things go precisely according to plan in the business of filmmaking.

Follow the rules for camera and subject placement.
Know the rule of thirds. Place your subject's face on one of the axis points; i.e., where the vertical and horizontal lines intersect - also in red in the picture.
Film the interview subject straight on or at an angle (45 degrees is ideal). Filming straight on requires that you place the interviewee in the left third or right third of the camera's screen.
Have the interview subject speak directly to the person asking the questions, not directly into the camera. Sit near the camera (within 45 degrees), but not behind the camera, when asking questions.

Be comfortable interviewing.
Relax. If you're relaxed, you will put your interview subject at ease and they will relax.
Be confident. If you're prepared with your questions and you arrive early to the set, there's no reason to feel uncomfortable. You can do this, it just takes practice. This calm confidence will be silently communicated to your interview subject, and things should go well.

Ask open-ended questions.
Ask thought-provoking questions that cause the interviewee to pause and contemplate an authentic response. These are contemplation centred questions as opposed to content centred questions. For example, ask: What do you like/dislike about driving a car? What have you learned about driving over the years? Rather than: What is the purpose of the gas pedal? The last question leads the interviewee to your desired answer rather than letting them contemplate a personal response.

Listen actively to your subject.
Ask your subject a question, then listen to the answer. Pay close attention to the content of what they are saying, the context in which they are saying it, and what their face, body, voice, and eyes are really saying to you. Notice if they are uncomfortable with the question, and find out why without forcing the issue.
Nod with your head and focus your eyesight to acknowledge you are listening. Insert the occasional, "Yes", or "Uh-huh". Make sure you don't overlap or interrupt the interviewee. Your voice will be recorded also.

Knowing What to Avoid
Avoid a lawsuit. You can be held legally liable for many things such as defamation of character if the subject(s) of your film does not like the way you portray them. Get your interviewee's permission. Get a signed release form from your film subject if you plan on showing this film anywhere other than your home. Ensure you have location permission, too. Get a location release if you are filming in a location that does not belong to you; i.e., you do not own the property.
Avoid filming minors. Children under the age of 18 come with parents and a lot more responsibility for the filmmaker.
Avoid minors until you are an established filmmaker and more aware of the legalities that come along with this.
Avoid filming professional actors, especially union SAG or Equity actors (Screen Actors Guild). Again, until you are an established filmmaker, this is not an area you want to enter into because there are many laws and regulations when working with professional actors and minors or both.
Avoid running out of time. Make sure you have plenty of time booked at your location, charge left on your batteries and at least one back up battery, and storage space on your recording media (e.g., SD Card). An interview with one willing participant is likely to run 25-35 minutes, so be prepared.
Avoid asking yes or no questions; e.g., "Do you live in San Francisco?" The interviewee will most likely give you one-word responses. Don’t let the subject see any emotion on your face except pleasure. A person on camera is very aware of everything around them. If it is a bad interview, you may need to do another one, but it is more likely that you will find usable pieces of the interview when you head into post-production editing. It may take some people longer to really open up on camera than others.