Since his debut in 1967, the influential filmmaker has dedicated his life to documenting the everyday world around him in his own patient, unblinking, highly humanistic style: ‘I’m interested in the different ways people try to help each other.’
, Wiseman’s first narrative feature. He’s a true, living legend of the Lido. But until recently, Wiseman was considered a TV director. The bulk of his films were produced through PBS and were rarely seen outside the small screen.
“That really helped boost the theatrical showing of my films,” he says. “Other festivals got interested and distributors started bringing the movies into theaters.” “I’m interested in many of the same things in many of my movies. I’m interested in the different ways people try to help each other. I’m interested in the relationship between men and animals, I’m interested in the complexity of human behavior,” he says. “But none of this was systematic. I just have an idea in my head of a variety of subjects that I wanted learn about, and then I learn about them while making the movie. Because I never do any research. Shooting the movie is my research.
Wiseman’s approach is to embed for weeks, sometimes months, in the institution, shooting a tremendous amount of footage — “it’s usually between 100 and 140 hours.was almost 250 because I went to a lot of classes and professors talk a lot” — which he then whittles down to a mere three or four . “I don’t think it’s because I have a particular fondness for meetings,” says Wiseman, “but meetings are important for the life and decision-making in the institutions that are subject to the film. If, for example, you’re doing a film on the New York Public Library, there was a staff meeting of the senior offices once a week and that’s where a lot of major decisions were made.
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