Everything about a movie is manipulation. Frederick Wiseman More Quotes by Frederick Wiseman More Quotes From Frederick Wiseman 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. Frederick Wiseman moviechoicesediting 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." Frederick Wiseman manipulationyou-like-itlying 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. Frederick Wiseman sadnesstragedydrama Documentary filmmaking ruins you for real life, because you learn to be extremely attentive. Frederick Wiseman documentariesruinsreal I think I have an obligation, to the people who have consented to be in the film, to make a film that is fair to their experience. The editing of my films is a long and selective process. I do feel that when I cut a sequence, I have an obligation to the people who are in it, to cut it so that it fairly represents what I felt was going on at the time, in the original event. I don't try and cut it to meet the standards of a producer or a network or a television show. Frederick Wiseman cuttingeditingthinking Anybody whose mind is functioning at all can't be content with the way the world works. Frederick Wiseman mindwayworld It is always a problem to know what an image means. Frederick Wiseman problemknowsmean My goal is to make as many films as possible about different aspects of American life. Frederick Wiseman filmdifferentgoal My job as a film editor is to construct a dramatic narrative because otherwise it's just a chaotic arrangement of sequences. Frederick Wiseman editorsnarrativejobs In moviemaking, you learn to pay attention to detail, because so much is in the detail. And when you're shooting, you try to be very alert to what's going on, even if you're tired. Frederick Wiseman detailstiredtrying Making movies is an effort is an attempt to leave a trace of your existence. Frederick Wiseman existenceeffort I don't like to read novels where the novelist tells me what to think about the situation and the characters. I prefer to discover for myself. Frederick Wiseman novelistscharacterthinking I'm very careful of not being critical of other people's movies, which work in different styles. I think some of my movies can be interpreted as critical of their subjects. Frederick Wiseman stylepeoplethinking 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. Frederick Wiseman issuesplaythinking I do not think that my films or films by any other filmmaker represent "THE TRUTH." I do not feel the need to categorize my films or anyone else's. Frederick Wiseman filmneedsthinking I'm in no way suggesting that I succeed, but it's inspiring to read somebody who does succeed and from whom, in a general way, you can draw examples and nourishment and sustenance. Frederick Wiseman exampledoeway There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose. Frederick Wiseman importantexampletwo There's a literal track: who says what to whom, what are people wearing, etcetera. And there's the abstract track: what ideas are suggested by the literal. And the real movie takes place in the relationship between the literal and the abstract. Frederick Wiseman realpeopleideas I'm drawn to making movies about contemporary life. The reason I choose institutions is because they provide a limit, a boundary. Frederick Wiseman limitsboundariesreason Even if I know I'm going to go to a church, I don't know what the minister's going to say. Frederick Wiseman ministerschurchknows
