Interview with the directors of 'Nightcrawlers of Phnom Penh'
Written by Jordan Rossi / 29th February 2016 / Hunger Magazine
Nightcrawlers of Phnom Penh provides audiences with a visceral, stunning insight into the lives of freelance reporters in the Cambodian city, who spend their nights chasing grisly scenes in the car-crash capital of the world. We sat down with the Directing trio to discuss their trip abroad and realising their cinematic vision.
When did you first discover this topic and why did you want to shoot a documentary about it?
We first started discussing the idea of making a documentary about Nightcrawlers in January of last year. A close friend of ours is a journalist working for a paper in Phnom Penh and he sent us an article that a colleague of his had written on the same subject. We thought that there was potential for an interesting story with strong characters so we started doing more research. In addition to finding out what the job actually entails we wanted to give an insight into why these journalists do what they do and how the work has affected them.
What challenges did you face shooting in a foreign country with a different language?
This was our first foreign language documentary and our first documentary shot abroad so naturally there was quite a steep learning curve. It was a lengthy process getting all of the correct permits and transporting our camera equipment into the country so pre production took a while. The biggest challenge was interviewing people through a translator. We found it hard at times trying to connect with our contributors on an emotional level with the added barrier of a middleman between the questions and the answers.
What was the biggest obstacle during the shoot and how did you overcome it?
Due to the nature of the work that they do there was a lot to think about in terms of safety. We traveled around in the back of a pick up truck and we shadowed the journalists wherever they went. We would sit at their waiting posts with them (usually petrol stations) for hours and nothing would happen then all of a sudden there would be a call and they’d rush off with us following close behind. We would have small bits of information but often didn’t have a clear picture of what was going on until we arrived at the scene. They cover breaking news stories about anything from gang shootings to traffic accidents so we had to be alert all of the time to make sure we didn’t get into any serious trouble.
How did you initially map out the aesthetic for the film and how did you realise your vision?
We wanted to reflect their work in the way the film looked and felt aesthetically. We mainly shot handheld and almost entirely at night to immerse the viewer into what it’s like to do the job. Often the only light source that we would use other than ambient street light would be the journalists’ own small LED panels that they would attach to their cameras. It was important to keep ourselves as mobile as possible and have small camera rigs because we were always on the move.
Originally published by Hunger Magazine