Wells Johnson, Dick Johnson discussed on The Next Picture Show
I think that is where the authenticity. Of Her putting herself into this film because she hasn't really done that camera I, feel like she maybe her face popped in once or twice in camera person but you know her her lens is the character there and you know she's always been a behind the camera person. So you know just taking the step of putting herself kind of the center to the film adjacent to the center of the film. Anyway is a daring act for a documentarian of her stripe. As. Far as wells goes, he is someone who has been in front of the camera for most of his career you know like he has an on camera presence in addition to a behind the camera presence. So we talked in the first half about the film itself kind of in the end being about wells despite all these other sort of. Avenues it meanders down. It is effectively a film about him as a filmmaker at that point in time and. I don't know I'm struggling to see where the authenticity comes in for fake. The title of right, there would seem to run contrary to it I. Guess I wouldn't use the word authenticity so much as candor to describe a link between Wells Johnson here in that, both of them are sharing with the audience the fact that what they're seeing fake I mean they're they're they're showing you the all of the tools of the trade in their laying bare elements of craft that most movies try to disguise, and that's kind of what I meant on the earlier show about effort fake being ahead of its time. I mean I think Dick Johnson's dead is coming along it kind of represents where nonfiction is right now where where it's like we can. Stop pretending, for example, that directors of documentaries and their subjects are not collaborators collaborators they're not. You know it's not. It's there's not that remove their collaborators not unlike actors are. So there's a relationship there and you know camera person was about interrogating those relationships too..