A Quote by David Shapiro
I don't necessarily believe in the ideology of cinema verité. I think by the very fact that you have a camera there you are affecting the story and you are influencing it.
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Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
I think it's a great pity in the Anglophone world that we conflate cinema verite and Direct Cinema; they're, in fact, ontological opposites. In Direct Cinema, we create a fictional reality with characters and pretend we're not that.
I think Direct Cinema's trying to be insightful by looking at reality in a very close way while, in fact, much more is staged than we like to think. In cinema verite, it's about trying to make something invisible visible - the role of fantasy and imagination in everyday life.
I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.
I do not believe in the Cinema verite. Sometimes a really good lie is better than any truth.
I think what I loved in cinema - and what I mean by cinema is not just films, but proper, classical cinema - are the extraordinary moments that can occur on screen. At the same time, I do feel that cinema and theater feed each other. I feel like you can do close-up on stage and you can do something very bold and highly characterized - and, dare I say, theatrical - on camera. I think the cameras and the viewpoints shift depending on the intensity and integrity of your intention and focus on that.
I'm anti-verite. I think the verite style is a completely false thing. Most things are false to arrive at a truth; verite is falsity without acknowledging its falsity.
I worry that the level of interrupt, the sort of overwhelming rapidity of information — and especially of stressful information — is in fact affecting cognition. It is in fact affecting deeper thinking. I still believe that sitting down and reading a book is the best way to really learn something.? And I worry that we’re losing that.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
You usually get one or the other, you get someone who knows how to tell a story but they don't necessarily know about light and camera and rhythm, or you get someone who can make beautiful images but they can't necessarily tell a great story. He does both and I think he's going to be one of the film-makers that our time is remembered for.
Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.
Designing the technical aspects of my camera movement for me is very important. I want the camera to be a big part in telling the story as well, like what I really believe in with all the films I make.
Whatseems to take place outside ideology (to be precise, in the street), in reality takes place in ideology. What really takes place in ideology seems therefore to take place outside it. That is why those who are in ideology believe themselves by definition outside ideology: one of the effects of ideology is the practical denegation of the ideological character of ideology by ideology: ideology never says, 'I am ideological.'
I'm very pessimistic about adaptations from one medium to another. I've got a very kind of primitive, Puritan view of it. I tend to think that if something was derived for one medium, then there's no real immediate reason to think that it's necessarily going to be as good or better if adapted into another one. There have been very good stage plays that have made some very good films. But there are not so many differences between the theater and the cinema as there are between the cinema and, say, reading a book or reading a comic.
Good cinema is what we can believe and bad cinema is what we can't believe. What you see and believe in is very much what I'm interested in.
The fundamental difference between the mystery story and the ghost story is the fact that a mystery demands a solution for its effectiveness; a ghost story is necessarily unsolvable; the reader must be willing to accept the fact that nothing is proved.
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