A Quote by Sam Seder

I think what happens normally in a narrative film is that the camera constructs the reality. — © Sam Seder
I think what happens normally in a narrative film is that the camera constructs the reality.
Normally, I'm a very controlling director. Directors are controlling. It's part of the job, but there's various degrees of it and the constructs I normally work on are very controlling constructs.
I did documentary film for a long time, and I spent a lot of time behind the camera, fervently wishing that the reality I was filming would conform to my narrative propriety. But you can't control it.
In film, normally what happens is that not many people work more than once. Normally, it breaks couples. It doesn't make them.
In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transparent window into a pre-existing reality. What really is happening is that the film crew and the subjects are collaborating to simulate a reality in which they pretend the camera is not present.
When you're doing a single-camera show, it's more buying into a level of reality. I think a sitcom, a four-camera show, doesn't require that so much. I think with a film show, you just need the characters to grow.
I think that film is still an artform and it doesn't really matter if you're using a digital camera or a film camera.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
The actors feel very free. The actor, he doesn't need to think about where the camera is, he just has to focus on what he's doing and forget the camera. The camera is never in the perfect position, and I think this is what keeps this feeling of reality. The frame is not perfect.
I like to think traditional narrative can be subverted by an experiential narrative, by an immersion in the temporal event of the film and a a play with our expectations of that.
The reality is, because of access to film, you don't have a lot of black people who want to go behind the camera. We raise our children to want to be in front of the camera and shine, and that's on us.
I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.
There's some ambient music that doesn't do anything. I wouldn't say that that's narrative. It is narrative in that it creates a sort of world where nothing happens, where really nothing happens, so you become a different person after hearing eight minutes of exactly the same thing. Yes, I hear music all the time in which one idea is strung together to another idea, and I feel that such music is non-narrative.
Even 'Piku' was quite an experiment in terms of storytelling because on the surface nothing happens in the film. If you ask me what was the film about, it was about father-daughter fighting and the narrative captured their daily life.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
I don't have to think too hard to keep my writing within a certain narrative thread. That happens because certain words trigger other associations you have in your mind. So, there is this inherent narrative in the end, whether it is abstract or what.
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
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