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television On Giving a Good Interview fcv Kathleen A Ann Kristin Sulbuvtk The things thai go on behind the TV camera in a studio are more complex than we might think and on Friday. January 29. a dozen of us got a first-hand look at what goes on behind the scenes. Shaw Cable and the North Shore Arts Promotion Hoard are currently sponsoring I scries of workshops designed to give us all a chance to conduct an interview, learn the basics of video editing, and produce a TV segment Hosting the first workshop on interviewing techniques were Leslie Payne, host of Shaw's The Associates, and Bob TherriaulU production coordinator. This energetic team of professionals took us through our paces with arelaxedand refreshing undertone of warm humour. We were all quite nervous as we settled into our seats because before very long, we were on set practicing introducing one another for a T.V. interview. Over the next 3 hours, Robert and Leslie introduced us to techniques used when interviewing and being interviewed, walked us through camera operations, and explained how the director, production assistants, audio technicians, floor director, and producers all work together to make a successful Our hosts used va acquaint us with hands-on techniques used by professional interviewers for when things go according to plan and when they don't. The key word here is 'plan.' This includes doing a prc-intervicw with the guest(s) in order to clarify what points they want to make. This is also an opportunity to let your guests know what to expect-- and what to wear! It is not a good idea to wear white or turtlcneck shirts, for instance. We were also taught how be relaxed and how to put one's guest at ease. People arc often nervous before and during an interview and it is the interviewer's responsibility to make them comfortable. The calibre of an interview depends on this and on the interviewer's ability to improvise should the order of the prepared questions be jolted. One of the exercises we did was to come up with questions after watching short clips of actual interviews. Sometimes we dried up, but it got easier with practice. Robert and Leslie gave us very good lips on how to approach our (ask, especially when it comes to dealing with the camera. As with everything, the goal is to catch the audience's attention and keep it. Be energetic, well-prepared,readywith i fallback if thrown off your track of questions, and most important, listen to what your guest is saying. And with all this in mind, remember to look straight at the camera. It is very obvious and distracting if you look away. Your audience will notice and think you are bored and perhaps lose interest. Mix this with a good introduction and conclusion. Set your questions up well and make sure your guest is made to feci welcome and comfortable. These ingredients make Tor a good ii If you are interested in finding out more about TV production, these workshops are a great idea. On March 9th. from 9 am till noon, you can take part in a workshop on how to produce a T.V. segment. Call 9849537 to register. If you want even more hands-on experience, join the Arts Access volunteer crew! '·lin -.nulles Communia nch ai SFU. Kathleen L of the West Vancouver niry Arts Council. promotion Media Releases & Grant Applications: Make Them Work! Last spring, the Arts Promotion Board sponsored a highly successful workshop on Marketing and Publicity for the Arts. One of facilitator Elaine Smookler's useful handouts is reprinted below. The Media Release Thefirstthing to consider is who this press release is going to. Is it going to the media? Funding agencies? Other arts organizations? Is it intended for listings or are you hoping to get a story out of it? A media release is usually intended as a catchy synopsis of an event which is intended to draw interest in the show. Don't be too precious. Keep your language interesting. Think about all die media releases journalists receive and ask yourself if yours is inviting, interesting, readable, informational, etc If you were a member of the press, would you read this and think, "yeah, this sounds interesting, maybe I'll follow upon this"? Try bright, eye-catching paper, keep recycled in mind, keep legibility in mind..laser printing helps a lot! I. Who. What, Where. When, and How should be answered in the first paragraph and it should be somewhat self-contained. Often the lisungs people will make use of this verbatim if it makes sense. If they have to work too hard to get the information they may not bother. 2. Double-spacing and wide margins make 3. Don't bother sending them to magazines if you're less than 60 days out from your show date. 4. Print on both sides of the page rather than two separate pages. 5. Include as headers: FOR IMMEDIATE RELEASE and PLEASE USE UNTIL 6. Always date it the day it goes out so that it doesn't feel stale. 7. "-30-" goes at the bottom, before the contact name and number. 8. Don't use unnecessary hyperbole. 9. Double and triple check for spelling 10. Don't be lazy--find out when and how people want to receive the information, what their deadlines are. 11. Use a catchy headline which at once informs and intrigues. 12. Don't use jargon. 13. Fold it to fit a #10 envelope, headlineside facing out. Now take these media hints and translate first paragraph and it should be somewhat self-contained. 2. Type or print the information. Laser printing helps a lot! Handwriting will definitely lose the grant jurors' interest. 3. Don't be lazy. Be as serious about writing the grant application as you are about artmaking. Research the funder. consult the Canadian Directory to Foundations (at the Seycove, Capilano, and West Vancouver Memorial Libraries) and the Arts Resource Book (at the North and West Vancouver Community Arts Councils and the North Shore Arts Commission). 4. Fit the information to the grant applicauon form. Make every word count and try not to attach too much extra paper simply because you can't bring yourself to edit your words. 5. Use language that at once informs and intrigues but don't use jargon or hyperbole. 6. Double and triple check for spelling More useful hints for publicizing and gettingfinancialsupport for your *vrk will appear in the next issue of Arts Access. The Grant Application 1, What is the project? Who will carry it out? Why are you (the artist or arts organization) therightone to do it? (If an organization, the key is to link ihe answer to your mandate.) This should all be in the