Film & TV

Finding Your Story Within The Subject

Ken Burns

Lesson time 13:26 min

You’ve selected your topic, but what’s the story you’re telling? Ken teaches you how to use research to seek out different perspectives, discover your story, and anchor it in facts.

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Ken Burns
Teaches Documentary Filmmaking
The 5-time Emmy Award winner teaches how he navigates research and uses audio and visual storytelling methods to bring history to life.
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Preview

There's a huge difference between the subject and the story. And I think at the end of the day, that's probably the most important distinction that we both forget and remember and re-remember when we forget again. The subject is the subject. It is what it is. And in the kind of documentaries that I make, historical documentaries, it's true. It's the monolith of fact. It's the temple that you go to again and again. You leave because the story is itself a fabrication and a manipulation of aspects of that subject that you are trying to stitch together into a story. And this is a huge evolutionary process in which you can't possibly conceive what it looks like at the end at the beginning. And so what you're trying to do is make sure that the lines of communication are continually opened, or at least reopened when they're broken, between the story you're developing and the facts of the subject that you are committed to try to bring back in some new way. The art is in that selection, in that manipulation of the stuff. But so are all the treacherous swamps and quicksand of it-- the times in which the entertainment outweighs the facts, the times in which you make decisions of omission that actually are detrimental to important truths of the subject that should be surviving. And so what you have is-- say, in the case of a multi-year project-- a continual centering of what you're trying to do all the time in relationship with the facts. And the second you get away from the subject matter, then what happens is I think that the art and the entertainment and the storytelling can overwhelm and sometimes capsize the truths and the complicated truths of what the real subject is telling you. [MUSIC PLAYING] We want to cast at the beginning as wide a possible net as possible in every area of doing it. So we're buying lots of books, reading lots of books, giving the writer lots of books, adjusting the goalposts of the episodes that we've decided are there. Where do we get to? What do we need to do? And then we're learning. So the writer's beginning to shape a narrative. Meanwhile, we're out in another area, casting a net really far and wide, interviewing people, trying to figure out who we should talk to, what they have to say, and get as much as we can from them. We want our writer to be free to write the battle of Ia Drang Valley without worrying about whether there's a-- or the Battle of Shiloh-- without worrying about whether there's a photograph of that. We want to be able to go into an archive and bring back all the images that we're drawn to compositionally because they're good photographs-- but also because of what they're showing-- and not worry about whether we're trying to fit it in. Now, does that create huge problems in editing? Yes, it does, because sometimes you end up with writing for which there's no images. And then you have to figure something out. And sometimes you got a lot of images for which there's no writ...


The drama of truth

Since its 2017 debut, Ken Burns’s The Vietnam War has enthralled over 39 million viewers by painting an intimate and revealing portrait of history. In this online film class, learn how Ken captivates audiences with his ability to distill vast research and complex truths into compelling narratives. From first treatment to final edit, Ken teaches his documentary filmmaking techniques that “wake the dead” to bring their stories to life.



Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

Extraordinary experience from a master. Ken's segments not only break down the art and process of documentary filmmaking, but are unintended insights into the dynamics of a life well-lived. Articulate. Profound. Inspiring. Ken, I wish I knew you.

As an aspiring Filmmaker whose leaning towards making mini docs, this has peeled back the curtain and mystery of how documentaries are made.

This class is very inspiring. Ken transfers knowledge from the heart. Same excellence like Ron Howard and Hans Zimmer classes. Well done.

This was amazing!! I'm really glad he went into the post production process a bit too. Very educational and inspirational.


Comments

Casey S.

I like the idea of perspective. Letting all sides take the story by hand and letting the contradictions have a voice. I like that a lot. That opens up so much depth to the story. And I like that the contradiction can bring clarity to the story as well as confusion. It brings human nature into the story. My wheels are turning!!! Thank you!!

Michael P.

So the Gettysburg Address is what he considers to be the greatest speech in American History? Okay so we are just oing to sweep under the rug thatLincoln, during his famous debates with Sen. Stephen Douglas, explained to the crowd: “I am not, nor ever have been, in favor of bringing about in any way the social and political equality of the white and black races … I am not nor ever have been in favor of making voters or jurors of Negroes, nor of qualifying them to hold office, nor to intermarry with white people; and I will say in addition to this that there is a physical difference between the white and black races which I believe will forever forbid the two races from living together on terms of social and political equality. And inasmuch as they cannot so live, while they do remain together there must be a position of superior and inferior, and I as much as any other man am in favor of having the superior position assigned to the white race.” Lincoln was no different than most white males, North and South, at the time. He was a white supremacist. The "I have a dream" speech is arguably the greatest speech in American history.

A fellow student

“If you’re courage-able until the end, then you have the possibility for serendipity and surprise.”

Stephen H.

Absolutely amazing and so thoughtfully put together capturing all the emotions and actions that matter in such a descriptive manner. Thank you for your insights Sir, thank you!

Aja

I think it shows a great level of humility and emotional intelligence to realize the biases we all have when making a film. It is really hard for me to let go of what I am sure I already know about a subject, and let the facts drive the formation of the story.

Obaji A.

Hi, is anyone experiencing this error message too while trying to download resources on these lectures: This XML file does not appear to have any style information associated with it. The document tree is shown below. <Error> <Code>AccessDenied</Code> <Message>Request has expired</Message> <X-Amz-Expires>3600</X-Amz-Expires> <Expires>2019-05-22T12:48:07Z</Expires> <ServerTime>2019-05-22T14:25:27Z</ServerTime> <RequestId>9966F69FC86E4CCF</RequestId> <HostId> HMMOn+p26aieFdGqQ1oQD3XIU/mBj7il3qTFwo1Qr95ukNKGqdXUEvL/2PpntrvFIwHZycuje2U= </HostId> </Error>

Obaji A.

Wow, Ken just gave me a trek home like it was all fun without heck. I am now even more confident than ever, better equipped to continue telling African stories giving them a wide scale glamour.

A fellow student

The question I have is, I'm trying to tell the story of my mom's immigration story from Vietnam to the United State. I want to tell the story because for me it allows me access to my own history as a second generation US citizen, and how the events of the war completely shifted lives of my family and I. We essentially had to denounce our old home and completely adapt to a new one in the United States. How do we seek different perspectives when the story is about one person?

Phil N.

Ken Burns, as a true artist, can reference historic works of literature and philosophy like the poet William Blake whom I will now read more of his poetry, thanks for quoting: "To see a World in a Grain of Sand...And a Heaven in a Wild Flower" in relation to film-making and story-telling. I have concluded that hyper-local is the way to move into the future. I tell my photography students to do National Geographic caliber work in your own little local area. No need to have a press pass to the Olympics; you can get great action and emotion at your town's little league field. Get the life story and plight of one farm family you know, and you are telling the story of thousands of similar lives on America's family farms... and so on. I remember another version of Blake's philosophy, the title of a picture essay on macro-photography, close-ups of flowers and insects. "In the microcosm, I find the cosmos."

Denise G.

Great, great, great! Now I'll never throw away any scrap of paper that I have on my family genealogy & historical facts. I can see how my book with timelines in it can each be scenes/goalposts for my historical documentary that I plan to make. Could sure use someone like Ken Burns to critique it. I think that it's written well, with facts, docs, pictures, & resources, protaganist and antagonist, but, maybe too short (160 pgs). Wow. Sure sorry to hear that this young soldier died. Heartbreaking. Thankfully my brother made it home, barely. Racism there and back home.