I think I've learned a lot about how to make movies, and particularly about how to edit movies by thinking about how similar problems are resolved in other forms. The issues in all forms are the same in an abstract sense, aren't they? Characterization, abstraction, metaphor, passage of time... Whether it's a movie, a novel, a play, or a poem, those issues exist. And each person resolves them differently.
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Of course there's conscious manipulation! Everything about a movie is manipulation ... If you like it, it's an interpretation. If you don't like it, it's a lie - but everything about these movies is a distortion."
Documentary filmmaking ruins you for real life, because you learn to be extremely attentive.
You have to edit the material. That assumes that some kind of a mind is operating in relation to the material. Not all minds are the same. Every aspect of filmmaking requires choice. The selection of the subject, the shooting, editing and length are all aspects of choice.
I'm interested in ordinary experience, and regardless of the precise definition of ordinary, and I've found that in so-called ordinary experience, there is as much comedy, tragedy, sadness, as there is in great drama. And I don't invent it, I recognize it.
It is always a problem to know what an image means.
Making movies is an effort is an attempt to leave a trace of your existence.
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