Image: Shutterstock.
Are you one of the throng who have had an interview with a journalist and felt apprehensive afterwards? You obsess that the reporter focused on the wrong things; that you sweated profusely; stumbled over your words, and generally made a mess of things?
The good news is that your assessment is usually an over-sensitive criticism of your own performance.
Still unconvinced? Then remember that we live in a TLDR-society (too long didn’t read), where a goldfish statistically has a longer attention span than humans. Apparently, goldfish are willing to engage for nine seconds while humans are held captive for a mere seven. Chances are your “big moment” will be remembered as a topic, rather than what you actually said. So getting the facts across is key.
Nevertheless, interviews can be stressful for artists and creatives. And electronic media, in particular, can be very intimidating with all that equipment honing down upon you. So the first thing to remember is breathe.
There are many forms of interview in our 21st century media reality, from the old fashioned face-to-face conversation, to the studio interview for radio or television, an interview conducted over the phone or Skype, to digital video vox pops grabbed on the run.
While interviewing tips are largely the same across those mediums, the number one rule to getting you through an interview is to remember a simple fact – people like people who like them. The reason you are being interviewed is because someone is genuinely interested in what you are doing.
Advice from journalists
We canvased a few professionals in the media sector for their advice.
Jane O’Sullivan is a print journalist and her writing has appeared in Flash Art, Ocula, Art Guide, Artist Profile, the Australian Financial Review, Artnet and ArtsHub, and she was the former editor of Art Collector magazine.
Her key piece of advice was: ‘If you feel like you’re flubbing the interview, don’t be afraid to stop and gather your thoughts. It’s perfectly OK to say something like: “That wasn’t the right way to put that, can I reframe?”
‘I even had an artist once who said: “Look, I can answer that question, but that’s really not what my work is about.” Go for it. I like when people are upfront because it helps me write a better story. But fair warning, it’s not usually appropriate to ask to see or edit copy before publication.’
James Valentine has been presenting Afternoons on ABC Radio Sydney since the ’90s and is also a jazz musician. He has been the narrator of Lifestyle Channel’s Come Dine With Me Australia, writes a column for The Australian newspaper, and is also a familiar face on television, including ABC’s The Mix.
Valentine noted: ‘Whatever the question, the answer is a story. Journalists and media will often ask a general kind of question – why did you do this work, what’s it about – but what they’re really asking is “tell me a story about yourself and this work”. You can go personal, you can go broad about the context, you can go into detail about technique, but make it a story. This means that ahead of time figure out your three or four stories, then weave them into whatever journalists ask you.’
Valentine said stories for The Mix were usually five or six minutes long. ‘This meant that I really needed artists to tell me succinctly what they were up to. Those who at least had seen the show understood that. Those who hadn’t often assumed that I would need to speak with them for half a day and then I would edit that into an award winning documentary focusing entirely on them. Find out what they need, and give it to them,’ said Valentine.
He also says get rid of the art speak. ‘The curatorial language, the language of the grant – it has meaning for you and for your fellow practitioners, for the curators, but it is incomprehensible beyond that. Don’t get snobby and think that this is dumbing-down. You have to find language which invites us all in.’
Andrew Frost is a writer, art critic and journalist. He is the co-founder and editor of artlife.blogspot.com, and a regular contributor to Guardian Australia, Sydney Morning Herald, and the ABC.
His advice echoed that Valentine’s: ‘Have a simple story to tell about why you made your work and what you wanted to achieve. A straightforward story is easier to disseminate through the media than a complicated or subtle one.
‘Also, and this almost more important than background info, have lots of high quality images of your work available, preferably in colour, or at least with high contrast, that’ll look good at any scale, when they’re seen on paper or online.’
It was a point that Valentine also expanded upon: ‘These days you have broadcast quality technology in your pocket. Document your work as you go. If you’re picking up unusual materials take a photo on your phone. Take a pic of the work at the end of each day. Keep a video diary talking about what you’re doing. Third party media will love those before and after shots, but you can use them as well. These days we are all media. Don’t wait for the Herald or the ABC to turn up. Use whatever social medium you prefer, use it how you want to use it, but use it.’
Richard Watts is ArtsHub’s Performing Arts Editor and the host of the weekly radio program SmartArts on Melbourne’s 3RRR.
Watts advised artists to prepare for interviews by drawing up a handy shortlist of the points you’re keenest to get across. ‘Whether that’s theme, collaborators, the creative process or sponsors to thank – writing out such a list in point form ensures you won’t beat yourself up afterwards for forgetting a vital piece of information.
‘And when it comes to slipping those details into the conversations, don’t force them in awkwardly – find a way to gently turn an interviewer’s questions around so that you provide them with the answers they need, but that you also ensure you convey your most essential talking points.’
Media at the announcement of the Archibald Prize, Art Gallery of NSW. Image: ArtsHub.
A quick checklist of interview tips
ArtsHub’s journalists, with 30-plus years of experience between them, have consolidated their experience into this additional checklist:
1. Prepare
We suggest that you write down five words, much like flash cards, to be used as quick triggers to get you rolling. Secondly, we’d suggest that you formulate one real succinct answer to the question, “So what is this show about?” or “What is your work about?”.
Read your answer out loud – get the feel for it – that way it will come out relaxed and real.
2. Be location smart
The journalist should lead you on this but, if not, suggest a quiet location to minimise peripheral sound, and turn your phone off! You don’t want Aunt Flo making it onto national television with you.
3. Engage your “sincerity simulator”
The reason the journalist is there is because they are interested in you, and what you are doing, so share that passion – it’s infectious. Be yourself. A good interview should sound like an intelligent conversation over coffee, not a stand-up Powerpoint lecture.
4. Stick to the questions
Big advice – don’t take over and don’t waffle. An interview is always better if it is a dialogue, and if it’s succinct instead of rambling.
Stick to the questions asked, and keep your answers succinct. There’s a risk with adding superfluous information that you will lose track of your answer and the key message you want to deliver. You only have a small window of time.
5. Use simple descriptions
Not everybody knows the art theory that might underpin your work or the technical specifics to shooting a film – they are more interested in what it “looks” like, or your “experience” in making it.
6. Not sure, then ask
If something is not clear, don’t just throw any answer out to fill the space. Ask the journalist to repeat or rephrase the question in a different way – you can even say, “So do you mean…?”
7. Engage with the reporter
The golden rule is not to look into the camera – always look at the reporter. You will come across as more sincere and engaged. If you are unsure ask the journalist where they want you to look – it’s part of their job to guide you.
And, most importantly, avoid “helicopter hands”. Put your hands in your pockets or hold something and keep the expressions facial, not physical.
8. Stuck for words … then
If you are caught for thought and are tongue-tied look down briefly rather than spinning around the room. You will come off as thoughtful rather than nervous and confused. This pause will help you refocus. And remember the pause – in reality – is never as long as it feels.
