Frederick Wiseman: The Filmmaker Who Calls Out a ‘Psychopath’ in the White House!

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As a fervent admirer, I can confidently say that few filmmakers have delved into the intricacies of American institutions and public spaces quite like Frederick Wiseman. Since the 1960s, this visionary director has offered profound insights into the programs and institutions that play pivotal roles in our society. The concise titles of his documentaries serve as a roadmap to his explorations: High School, Welfare, Hospital, Basic Training, Central Park, Zoo, Public Housing, State Legislature, City Hall, National Gallery, At Berkeley, Ex Libris – The New York Public Library. These works, along with many others, collectively paint an alternative narrative of the United States, one that highlights the systems and structures upon which our people depend. Regrettably, these very same systems are currently under threat from the Trump administration and Elon Musk’s DOGE movement.

As someone who has dedicated much of my career to understanding these systems, it doesn’t just concern me professionally, it concerns me deeply as a fellow citizen. In a recent interview with MovieWeb, the director expressed his worry because he believes that the current state of affairs is marked by foolishness and madness, and we find ourselves with a leader who seems to exhibit psychopathic tendencies.

As a cinephile, I’ve been thrilled to see Frederick Wiseman’s extensive body of work, meticulously restored in 4K, gracing the screens at Film at Lincoln Center as part of their series, “Frederick Wiseman: An American Institution.” During our conversation with him, we delved into his American career, reflecting on the retrospective, but also sought his insights about America’s future. I asked him if, at 95 after a lifetime dedicated to examining American institutions and people, our current era stands out as unique compared to others he’s witnessed, and if he foresees dark times ahead. Wiseman, much like the straightforward titles of his films, replied candidly: “Yes, it feels different. And I fear things may get challenging.

Well, it’s challenging to draw broad conclusions like that as I’m not clairvoyant. I have reservations about making predictions, but it seems clear that the upcoming four years might not be favorable.

As Wiseman neared the end of his career, he discovered institutions outside of America that had endured for centuries, something scarcely found in the relatively young United States. He noted, “The movies I made in France feature subjects distinct from those in America. There’s no American theater company similar to the Comédie-Française, which has been around for over 300 years, or a ballet company like The Paris Opera Ballet, which also has an extensive history of over 300 years.

Restaurants such as Troisgros, being quintessentially French, can’t be found elsewhere like they can in France. The Crazy Horse cabaret, unlike any American nightclub, offers a unique experience. Similarly, the movies produced in France present themes that wouldn’t be possible for me to create in America, as my focus has never been on replicating or repeating the subjects I tackled there.

In his seemingly last movie, the remarkable production titled “Menus-Plaisir — Les Troisgros“, offers a near utopian atmosphere in France, appearing as a haven when contrasted with the current condition of American institutions.

The Frederick Wiseman Process

As a movie enthusiast reminiscing on the craftsmanship of Frederick Wiseman, I share some raw, unfiltered thoughts about his filmmaking approach. With honesty and assurance, I ponder if there were any insights from his work that he hadn’t grasped earlier, or if he would approach things differently now, having digitized and restored numerous films spanning the 1960s.

Reflecting on my past work, I can see areas where I might have approached things differently, but looking back now, I wouldn’t alter a thing. Each project has been a valuable learning experience that has shaped me as a filmmaker. I must admit, I’ve learned more about the art of filmmaking through editing my own films than any other way.

Looking at some of my earlier works, there are cuts and edits that I would adjust if given the chance, but I chose those decisions at the time because they felt right to me. Each project was a snapshot of my growth as a filmmaker, and those choices were integral to that journey.

A Seemingly Endless Amount of Film Footage

Is it possible that Wiseman, who is renowned for amassing countless hours of footage for multiple films and skillfully weaving text and subtext while maintaining authenticity about the filmmaking process, ever contemplated revisiting the leftover footage to create an entirely new movie? Wiseman’s response seems to echo his character:

Did he ever consider using the remaining footage to craft a completely different film?

After completing my work, I’ve never given a second thought to returning. The Library of Congress meticulously archives every single copy. I believe I did the best I could with the resources available when making the film, and that’s all there is to it. Onward to new ventures!

Wiseman shares that determining when a production is complete and filming is done is entirely up to him. He explains, “If I have around 150 hours of footage, I believe I can likely create at least a 15-minute film.” At times, he might simply be feeling tired or longing for his own bed. The decision is often based on a mix of gut feelings and the sense that he has amassed enough material, or when things begin to feel repetitive.

When Is It Time to Stop Filming & Start Editing?

In most cases, once the filming is completed, I stick to the footage at hand. However, there have been instances where I returned to gather more footage. This was what renowned documentarian Wiseman mentioned.

In relation to “Law and Order”, I resumed work approximately 10 days after about three or four months of editing due to a lack of sufficient footage at the station house; during the initial phase, I was constantly in the cars. For the Deaf and Blind series, my initial plan was to produce a single film, but upon starting the editing process — even during the original filming — it became clear that I needed to return and create separate films instead. It proved too challenging to merge the diverse schools into one movie as the issues faced by the deaf differ from those of the blind, which in turn are distinct from the challenges encountered by disabled adults. Therefore, I returned for a couple of weeks to capture additional footage required to produce four individual films.

Making Long Movies & Thinking About the Audience

When asked if he considers the shortening attention spans of viewers or edits with the audience in mind while crafting his detailed, lengthy films, Wiseman responds that such thoughts don’t cross his mind. He explained, “I simply don’t know how to think about an audience. I enjoy making movies, and I have been fortunate enough to create many of them. I make them at the length I believe is suitable, and that’s that.

Instead of saying “I can’t,” I might express it as, “I find it challenging to consider an audience because anyone who claims to know how to do so is essentially fabricating a fictional scenario based on the notion of catering to the broadest possible demographic.

Frederick Wiseman’s Favorite Documentary Director

After creating a vast body of work that significantly shaped American documentary filmmaking for the past six decades, one might wonder if there are any favorite directors for Wiseman himself. However, he doesn’t watch many films at all, so it’s challenging to provide an answer. Despite this, Errol Morris is a director he admires, but Morris works in a style that contrasts sharply with his own. Morris produces excellent movies.

Similar to Wiseman, Morris communicates in much the same way as he directs his films, delving into abstract concepts and weaving through numerous ideas in a verbose manner. While Wiseman is straightforward and quite literal, every word he speaks is believable and meaningful. When asked about specific films of his that have a personal significance, he replied, “Funnily enough, I find myself appreciating them all“. We strongly suspect you might feel the same way too.

Under the curation of Florence Almozini and Tyler Wilson, the documentary masterpieces of Frederick Wiseman will be screened until March 5, 2025, at the Walter Reade Theater in New York City. To check the screening schedule, please visit this link.

The documentaries of renowned filmmaker Frederick Wiseman are being showcased by Florence Almozini and Tyler Wilson from now until March 5, 2025, at the Walter Reade Theater in New York City. For more information on screening dates, please visit this link.

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2025-02-26 05:03