Every documentarian has a unique approach to filmmaking, but you might not expect that Frederick Wiseman and Gianfranco Rosi often have polar opposite approaches to making their films. Based on two interviews with each documentarian, we break down their many points of difference, and a few similarities, in their approaches.
Editing
How do you edit a documentary? Gianfranco Rosi on Fire at Sea
In our second behind-the-scenes look at the film, Gianfranco Rosi talks editing Fire at Sea: how he narrows down his documentary footage and shapes it into a narrative in the editing room.
Penny Lane on NUTS!: a gullible audience
Penny Lane talked to us about the importance of pacing in the film, why they used animated re-enactments, and how to think about documentary film.
Director Andrew Haigh talks 45 Years
Andrew Haigh discusses shooting long takes, keeping us in Kate’s head space, and editing the film before the editing room.
Wiseman talks making In Jackson Heights
Master documentarian Frederick Wiseman discusses his editing process and how this informs how he shot In Jackson Heights.
Queen and Country director John Boorman’s 8 lessons
British writer-director John Boorman has been making films since the 1960s, and has said that Queen and Country — a sequel to his autobiographical World War II-era story of childhood, Hope and Glory (1987) — which opened on Friday, will be his last. Set nine years after Hope and Glory in 1952, our hero Bill (Callum Turner) is […]