  Every year critics are subjected to who knows how many dozen
documentaries; most probably don't bother to see them all, and
others will be reluctant to admit that most of them are the
same. Oh, the subjects are different. One may be about war in
Asia and one will be about war in Europe and another is about
politics in the U.S.A., but they're the same in structure and
tone and rhythm. We usually get the big three: talking heads,
stock footage and photographs, and sometimes some "re-creation
footage."  Here are some pointers for future documentarians. 1)
Don't do that thing where, if the subject starts crying, you
discreetly keep the camera rolling, and then use that footage in
the final film. If your cutting is otherwise neat and smooth
during the rest of the film, then if you suddenly pause over a
weeping shot for the first time, it's annoyingly obvious why
you're doing it (see My Architect). 2) If the police or someone
else tries to make you turn your camera off, pretend to comply
and leave it on. It's ver