Fact checking means being able to footnote your treatment and eventually, your script. Any fact stated, whether by you as the filmmaker or by someone on camera, needs to be verified through not one but at least two credible sources. Even authors of highly reputable sources make mistakes, and bias and inaccuracy can be found in both primary and secondary sources. Have you ever been at a rally that seemed packed, only to hear it described on the news as a "small number" of protesters? Or sat through an afternoon in which the majority of speeches were credible and coherent, and the radio coverage featured a couple of speakers who clearly had no grasp of the issues? The reports may be factual, but do they accurately represent the events?
Another example: A writer profiling an anti-poverty activist might point out that the activist grew up in a town that, she notes, is "a wealthy suburb of New York." The fact may be true, but 50 years earlier, the town was still quite rural and had not yet become a bedroom community for the city. And even then, the activist was from a family living well below the means of other townspeople. Yet the reporter has used factual material to create a false impression, whether intentionally or not, that the activist grew up wealthy—an impression that has a direct bearing on any portrayal of the activist's current work.
Suppose you're making a film about this activist's life. Because you're using multiple sources, you should realize that the picture being painted by this reporter doesn't match others that you're seeing. You should also be doing your own reality checks: Is it really possible that the description of a town in 2006 also applies to the same town in 1956? Furthermore, even if the majority of townspeople were mega-wealthy back in 1956, do you know that the activist's family was also wealthy?
Suppose you've plowed ahead without considering this, however, and have become attached to the idea of using the man's childhood in a wealthy town as a motivating factor behind his work on behalf of the poor. Maybe you've even talked to experts (unfamiliar with the activist in question) who explain that growing up wealthy can have this type of impact on children. So the information and motivation end up in your narration, whether they are accurate or not. This is a situation in which having advisors on your side can be invaluable. A biographer of the activist, if given a chance to read a treatment of your film or screen a rough cut, will respond to narration such as "He grew up in the wealthy community of X," and cry foul. This doesn't mean that you have to remove the fact; it does mean that you will need to put it into a more accurate context.
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