• Identify yourself, production company, network, and series (if applicable).

• Mention that you are doing a film “based on” or concerning the story of ______.

• Explain the point of view of the production, and the degree to which the victim’s story will be showcased (i.e. back story or the main event).

• If applicable, mention the details that pertain to the bono fides of the production company: awards, years of experience, and past productions that might pertain.

• If applicable, offer to send videotapes of previous shows in the series that vouch for the integrity of the company and/or production.

• Ask if this is something they are OK with...talking briefly with you now, while acknowledging the difficulty for them of revisiting crime, tragic time etc.

• Acknowledge the loss and the continuing/abiding grief.

• Express hope that the production will honor the victim and show empathy for the family’s experience/trauma.

• Do not attempt to “understand” what they might have been through.

• Do not attempt to persuade them if they are adamant/obdurate/emotional or if they express that it is the family’s desire to remain anonymous/uninvolved.

• Do not interrupt or cut short their narrative – simply listen and sympathize.

• Provide assurances about the integrity of the project – that it is not the intention of the production company and /or the network to exploit the crime, add to the burden of the family’s grief, or appropriate or distort their story.

• Provided assurances that story/script/narrative will be based on PUBLIC RECORD.

• Express desire to let them know that this project is in production and invite their participation in whatever way they felt most comfortable. These options include:

• Being consulted about the veracity/authenticity of the story line/script;
• Supplying photographs/home movies to help humanize/explain the victim;
• Being interviewed on-camera about the event and/or personality of the victim and/or the impact of the crime on the family;
• Simply not participating at all.

• While acknowledging that there can never be “closure” on such an event, indicate that (in the past and/or from your own experience) many families/victims have felt “empowered” by participating in a production, that it has helped to keep alive and real the memory of the loved one, and has sent a powerful, personal message about _____ (gun control, drug abuse, drunk driving, date rape…) to a large audience.

• Provide assurance about the discretion and good taste of the production: no explicit crime scene photographs and/or recreations, and all facts culled from public record.

• If budgetary constraints make honorariums impossible, offer to make a contribution to a charity/foundation close to the victim.

• Ask if THEY have any questions/concerns that you have not addressed.

• Ask if there are any other family members that they think you should contact.

• FOLLOW UP immediately on everything promised (i.e. sending tapes, consulting on scheduling interview times, returning personal materials etc).

• CHECK IN regularly as the interview date approaches offering wardrobe suggestions, and assurances about the line of questioning.

• ACKNOWLEGE immediately all contributions (photographs, newspaper clippings etc).

• SEND thank you notes indicating gratitude for any and all levels or participation.

• MAKE NO PROMISES that you cannot keep.

Lisa Jackson, Jackson Films, New York NY www.jacksonfilms.com.