Richard Leacock

American observational documentary pioneer D.A. Pennebaker traces his embrace of film-making as a ‘witnessing process’ that allows him to reach a unique understanding of his subjects in this conversation on several rarely discussed films: the highly formative early shorts Baby (1954) and Daybreak Express
(1953–1957), the Drew Associates oddity David (1961), as well as Wild 90 (1968), Eat the Document (1972) and 1 P.M. (1972) – collaborations with Norman Mailer, Bob Dylan and Jean-Luc Godard, respectively. He addresses the meaning of cinéma vérité, Godard’s ‘reckless’ approach to film-making, and the sadness behind his second, and ultimately abandoned, collaboration with Dylan.

Albert Maysles, who with his brother David pioneered techniques in observational documentary in America in the 1960s, offers thoughtful reflections on a lifetime of filmmaking.  Ethical concerns in documentary are strongly addressed.  He focuses on the philosophy that has guided him as a filmmaker as well as the relationship those principles have to the lightweight camera and sync sound technology that allows him to carry out his practice.  He discusses space and distance not in geographical, but interpersonal, terms and emphasizes the ways in which his empathy and humanity allows him to get truly close to his subjects.  He dispels the notion that a direct cinema filmmaker is like a fly on the wall, stressing that “you have to get in there to get what’s really going on.”  The discussion draws upon specific moments within a range of films – from Jackie Kennedy’s hands in Primary (1960) to his painterly camerawork in Gimme Shelter (1970) to a messy bed in Grey Gardens (1975) – to explore how his camera’s tracing of surfaces can, in fact, reveal subjective interiorities.  He also responds to the critical reception of Grey Gardens and expands on Norman Mailer’s high praise for Salesman (1969).

در میان سبک های مختلف فیلم، جنبش سینمای بی واسطه یا سینمای مستقیم در آمریکای شمالی که همزمان با سینما وریته یا سینمای واقع گرایانه فرانسه، توسط افرادی چون رابرت درو و ریچارد لیکاک شکل گرفت را می توان از تاثیرگذارترین سبک هایی دانست که نه تنها در مستندسازی، بلکه در فیلم های داستانی امروزی نیز ردپای آن را می توان مشاهده کرد. جنبشی که عمدتا از تلاش های برجسته ریچارد لیکاک در زمینه زیبایی شناسی و مسائل فنی فیلم سازی مستند سود می برد.

From the variety of film styles, the movement of Direct Cinema in North America shaped alongside the Cinéma Vérité (realistic cinema of France) by filmmakers like Robert Drew and Richard Leacock. The movement which could be seen as the most influential style in documentaries, the movement which mostly benefits the significant efforts of Richard Leacock in aesthetics and technical matters of documentary filmmaking.