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Unfortunately, a lot of the films I was interested in making didn’t fit this formula. If I could just find the perfect story, the perfect real-life character, which I could somehow film at the exact time they were undergoing some huge change in their lives, with a lot of juicy conflict, I could unlock it all. I knew that if I wanted work in this field, I needed to radically alter my approach. The premium placed on this type of story structure stood in the way of grants, pitching forums, festivals, and television commissions.

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Of the chapter’s twenty pages, seventeen are dedicated to lengthy discussions about how to fit a documentary film into a three-act structure despite its “Hollywood origins,” while subheaders explain the “inciting incident” and “point of attack.” One should “get on a train” and not get off until the end, though we may see things in passing out the window or take detours the idea being that the plot has to stay in linear momentum through a defined beginning, middle, and end. In the third edition of the textbook Documentary Storytelling: Creative Nonfiction on Screen, there is a chapter centered around structure which uses the metaphor of a “train” to describe how one should think of story structure. Find a better story.” I ran into similarly dispiriting reactions during many pitch forums for other film ideas I had.

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Once, after explaining my film as a set of vignettes on both humans and nonhumans telling the story of a chemical tragedy, a producer asked me: “Yeah, but what’s the story? The real story.” When I asked him what he meant, he replied, “Well, like, who is the hero who’s going to lead us through this landscape, who has like, cancer he’s dying from, or something? You know, some Erin Brokovich shit.” Or, in the words of another TV producer who watched a portion of my very first film, Trashborn, which is a portrait of seven different trash-divers in a garbage dump in the Dominican Republic: “No main character? No eyeballs.

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If a film does not center around a human being, on some kind of quest (physical, intellectual, emotional, spiritual, etc.) or undergoing some monumental life change full of conflict, it tends not to be considered worthy as a subject of documentary. Indeed, during the making of the first version of my film The Camel Race, I learned first-hand the high costs-personal, creative, and professional-of choosing this narrative structure. This type of story structure, espoused in fiction, is very difficult to adopt in documentary. More precisely, I found problematic the single-character narrative arc, also known as the “hero’s journey,” or the three-act structure, which the documentary film market has imposed as a condition for the production of a successful commodity. At this point in my career, I was also trying to establish myself as a documentary filmmaker and I came up against the problem of story again and again. This is the film I’d been searching to make about Qatar. The sport embodies Qatar’s modern Bedouin heritage, and I immediately thought: this is it. There, I witnessed a scene I would see many times again: camels racing, soft padded feet making no sound, gangly legs gracefully overreaching their bodies, white froth dripping from their big lips, while cars rode alongside to control the robot jockey’s whip. One day, I was told to go to a spot an hour away, at dawn, and not to be late. For a few years, I had been working in Doha, Qatar, where gleaming skyscrapers and malls dominate the landscape. You could try to throw boomer bile at it to cause other zombies to attack it t hough.When I first heard there were camel races, I had a hard time believing they existed, never mind that they raced with robot jockeys. But don't try to throw a pipe bomb at it because it won't be attracted to it. Don't be afraid to throw molotovs at him to deal fire damage to hi m. Sometimes, you can get someone with a hunting sniper rifle to be on a rooftop before you trigger the tank's appearance, which will greatly help you during the fight. When you hear the tank's theme song, which you'll recognize because it's very stressful and you'll hear a very powerful distant groan as soon as it appears, you have to run simultaneously as you're shooting. It will throw giant debris and cars at you which will deal a huge amount of damage and kill you very easily in Hard mode.

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You can't go around it and it usually shows up in a specific place in each part of a campaign or when you accomplish a certain action like emptying a few gas canisters in the generator to lower the bridge in the Sacrifice campaign, for example. The tank is your worst nightmare in this game.