The Cinematography Podcast Special: Frederick Wiseman

With the passing of documentarian Frederick Wiseman, here is a re-release of our 2020 interview. He discusses City Hall, Titticut Follies, High School and more. Wiseman was a prolific filmmaker, making 45 films over 50 years. 

Wiseman’s family and Zipporah Films kindly request that you support your local PBS affiliate or independent bookstore in Frederick Wiseman’s memory.

Frederick Wiseman has proven that, in his words, “If you hang around long enough, you can collect enough material and cut a dramatic narrative film out of real life.” A Frederick Wiseman documentary has a very specific style- no narration, no identifying lower-third captions, no interviews and no camera movement. The viewer simply watches the story unfold as a slice of life. The subject is usually a mundane, everyday institution that many might simply overlook.

Wiseman feels his films are not merely observational, but that he actively makes decisions on how to sculpt them into a narrative during the editing process. He enjoys making documentary films because he finds comedy and drama exist in ordinary life, just as much as anyone would find in fiction. Wiseman shies away from the terms “documentary” and “cinema verité”- he thinks the term “movie” is good enough because “documentary” is something that sounds like it’s supposed to be good for you.

For Wiseman’s film, City Hall, he had the idea that recording what happens in a city hall would be a good inside look into the machinery of how a city runs. Boston City Hall happened to be the only one that gave him permission. A staffer of the mayor had seen his films and liked the idea. Unlike some of Wiseman’s other movies, Boston mayor Marty Walsh was a central character- as the leader of the city, he is very involved in seeing that it runs smoothly.

Before he became a director, Wiseman was a lawyer and law school teacher. He always wanted to be a director, but had no experience with movies. He saw an opportunity to become a producer when he optioned a novel called The Cool World and asked director Shirley Clark to helm it, which helped demystify the process for him.

Wiseman’s first documentary, 1967’s Titticut Follies, was about the Bridgewater Prison for the Criminally Insane. He knew the warden from his years as a lawyer and was able to get permission to shoot at the facility and gain access to the inmates. His next film, High School was released in 1968. “After shooting in a prison for the insane, high school seemed to be the next logical progression,” he jokes.

Part of Wiseman’s process is to find the film as he shoots, venturing forth purposefully blind and with little preparation. For him, it all emerges in the editing process. Wiseman always does his own editing and watches each piece of footage-generally about 150 hours of it- to decide how to structure each sequence.

Find Frederick Wiseman’s documentaries. You can see almost all of Wiseman’s documentaries on Kanopy for free with your library card.

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
LIKE AND FOLLOW US, send fan mail or suggestions! Rate, review and subscribe on Apple Podcasts!

YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Email: editor@camnoir.com
Facebook:@cinepod
Instagrxam: @thecinepod
Threads: @thecinepod
Blue Sky: @thecinepod.bsky.social