The_Film_That_Changed_My_Life

Harlan County U.S.A.
119
every person who’s in the movie, but the key people that you’ve spent all
this time with—those folks have trusted you enough to let you in. We feel
like you need to let them see it with the understanding that they don’t have
editorial control, but that you’re willing to listen. You’re showing it to them
because you really want to understand how they feel about it—what they
think of it. Do they think it’s accurate? If they don’t, then tell us why.
For me, that has most always been a good experience, even though
sometimes it’s a difficult experience. I’ve not always had universal happiness
with what they saw, and so it leads to a discussion. Oftentimes, though,
it has made the film better because they may feel like I’ve got something
wrong, and I will interview them. Usually, if the situation allows it, I will
have a camera when I go to meet them so there’s an opportunity for them to
talk about something. If they say, “You really got that wrong,” it’s like, “OK,
then tell me the way you think it is.” Usually it has made the film better. One
of the things I tell subjects going into these long-term projects is that they
will have that opportunity, and I do think that makes a difference for them.
I don’t say they’ll have editorial control. I’m very clear about that, but I tell
them that they’ll get a chance to look at it, to comment on it, and tell us
what they think. We will take what they say very seriously. I think it makes
a difference because it gives people more of a feeling that they can trust you
in opening up.
It’s interesting that you were talking about Barbara being able to talk
people into an interview. I’ve talked to Fred Wiseman, and he refuses
to do that. He’s said, “I don’t have time to talk anybody into anything.”
It’s like: “This is what we’re doing. Participate or not.”
James: He makes different kinds of films because he doesn’t really interview
people. He goes in primarily and shoots for a discrete amount of time—a
lot, but over a very discrete amount of time, for a couple of months, a few
months. And that’s different than trying to build a relationship with a subject
over a period of many months and even years. It’s a different animal. This is
not to say one is better than the other, but I can understand why he can take
that position. If you’re trying to make a film about somebody, where you’re
going to spend many, many months and even years with them, then you’re
going to build an actual relationship with that person. If it doesn’t have some