Neues Special: Frederick Wiseman

00:00:00: The way I try to make the films is to give a viewer enough information so they can feel that their present.

00:00:08: And at the same time, make up their own minds what it is there seeing and hearing?

00:00:13: I don't like films that are didactic or condescend toward the viewer.

00:00:19: They only safe assumption for me as if the view of film was smarter than dumb as I am.

00:00:24: Sometimes in least years ago the word documentary carried the flavor of a prescription, that you should watch it because he was good for you.

00:00:34: It would improve him in some way or another.

00:00:36: and I think make dramatic narrative movies so-called normal regular fiction films.

00:00:48: I think it's more a reflection of my interests because, uh...I think movies are more novelistic than they're journalistic and i'm interested in complexity and ambiguity even if you like titty gut follies.

00:01:02: I don't like simple expose films.

00:01:05: I'd like to be able make films that some way.

00:01:08: this suggests the enormous complexity.

00:01:17: Jotkatz, the critical film podcast today with Lukas Bovenchik.

00:01:21: A wonderful good day!

00:01:22: Hello

00:01:23: Jay Tomberg.

00:01:23: and there is a new special where we finally talk about Frederick Wiseman.

00:01:28: I am Christian Eichler.

00:01:30: Hi Nice that you are here, nice to see us again this filmmaker Whitman who has recently died And when i always felt like But I don't know, that would be interesting for you.

00:01:47: What is your feeling about the popularity of Frederick Weisman?

00:01:52: On one hand it's probably the most famous documentary film there are and on the other side when i look at the letterbox locks or when looking back to make a special I still have this feeling many people do not really know him Or maybe they know him as much as me who knew he was there.

00:02:14: And on the big festivals, there's always something about him.

00:02:19: But now you just want to watch a four-hour movie about some institution.

00:02:24: I know that when i was in Venice for the first time and didn't know him yet, what it really was?

00:02:29: Maybe City Hall or something like this... And then I wasn´t so sure if I should look at all of them Or not.

00:02:35: Somehow he is very important.

00:02:37: You know him.

00:02:39: He has one of the most amazing works on film history.

00:02:42: On the other hand his career still exists.

00:02:46: the end is.

00:02:48: How do you see that, Lukas?

00:02:49: I think

00:02:49: it's a good thing to meet him during years of work.

00:02:52: while his films are often quite difficult available only few have made it into German cinema in America.

00:02:59: was he then at some point in the years when we've already talked about movies such as a kind of library film maker.

00:03:05: one had over so a service like canopy can somehow be seen.

00:03:08: canopy i now also heard there with me and yes exactly so.

00:03:10: i will also sit down too.

00:03:11: It's the same thing that he is one-sided.

00:03:12: He

00:03:12: is canonized, who has almost arrived in Sinifigli and is also very important there as well.

00:03:19: And you can find it already in early critics... I read a description of an article from nineteen hundred and eighty seven for example.

00:03:31: He would be the most important documentary filmmaker in the world.

00:03:35: There might have been other predictable names like Michael Moore or maybe the exact opposite of him.

00:03:40: but tendentially I'd say who is a documentary film fan?

00:03:45: Tendentiel fan von sagen wir so in dem reportage Wesen es gibt ja eine eigene zielgruppe für Dokumentationen und das sind oft zu leute die auch dann viel.

00:03:54: so die sachen auf art gucken und so und dass ist ja nun einfach nicht ergibt einem wenig an die hand.

00:04:00: das dokumentar phänomen is ja The people want to learn something, they want the feeling that it is now in the broadest sense of infotainment.

00:04:08: I'm still learning what's going on when I'm entertaining and he isn't anyone who is particularly didactic anymore.

00:04:12: It's not someone who shows up and says i'll bring you a little bit with me.

00:04:15: but he says Come with us, we'll take a look at something together.

00:04:19: And you will learn my personal subjective perspective on this.

00:04:25: but it won't feel like that and especially when one looks at the critics in the eighties or nineties there are still big critics who are very irritated.

00:04:32: why is he explaining?

00:04:33: That's not better!

00:04:34: So I've even shot over Donce the ballet film from two thousand ten which he has filmed in the mirror for example also read so Why aren't they being blended here and there and infotapes?

00:04:46: which piece this is.

00:04:47: And I believe that there are a lot of cuts between the pure experience, the experiment and the experience... ...and on the other hand it's not so easy for most people to get used to this show by institutions but rather you have to get accustomed where one has to say something like ''I'm ready'' in such a decisive filmy experience somehow to work with me.

00:05:11: I think Fredrik Weisman at the same time Gross, anchored and in canon.

00:05:16: And for many still

00:05:19: a challenge.

00:05:20: Yes that's also the reaction with which you find it first time when you work critically on the documentary.

00:05:28: so look at me there too.

00:05:31: I think this is such an early pencast following we have always said Hmm, have I somehow not learned so much about the thing in this and that documentary film where there was no explanation at all?

00:05:42: Would you be able to arrange it even better or something like that.

00:05:45: That's also today on journalism.

00:05:46: quite often always these requirements must somehow be arranged better than what we see here.

00:05:50: You can't just simply show it around And otherwise you'll find out sometime.

00:05:54: Oh yes!

00:05:55: There is a completely different kind of documentary film.

00:05:57: Of course the documentary form E is multifaceted because very clear fictional elements, for example.

00:06:04: That's what I noticed on Doc Leipzig when he lived there because documentary film is explicitly connected with animation films in this festival.

00:06:13: and now you like the fact that these films are so unclear at first sight but you have to sort yourself into it which is something one likes as a critic But he doesn't give anything to me either.

00:06:31: And then it just runs through, but of course that's very clear what you can see.

00:06:36: I think

00:06:36: this is so crazy!

00:06:37: Decontextualization was even thrown in front of court multiple times because he stood with his debut film Titicat Follies right before the court and Richter Kellys who in the central case there was involved with it.

00:06:51: He also had such a strange aesthetic rejection about this film and said, yes he doesn't explain anything at all , just let that happen on his own .

00:06:59: And uh ... That means he doesn´t want to see it arranged at all!

00:07:02: He doesn´T want us not to understand that but rather he wants somehow create some kind of horror there.

00:07:07: I think that is also criticism from him.

00:07:11: In any case the aesthetic judgment has been met by a lawyer for decades and people have always been irritated.

00:07:18: Why do you show that?

00:07:19: Just why don't you explain it to me anymore.

00:07:21: I just find this super fascinating because... I have to say, ...I feel incredibly comfortable in these films of course not everyone in the same size but i feel good when i look at things with him and especially in kind like those big yet open documentation.

00:07:39: so if he doesn´t make it concrete or if Doublehandicap, a specific form of physical protection.

00:07:48: But if he actually goes there and says we're looking at the whole community or an place like Central Park, then I'd love to go on

00:07:59: a discovery trip with him!

00:08:00: Yeah, how is that for you?

00:08:02: Because I had to think about it a bit.

00:08:03: We talked briefly once about experimental films... What is the name of this director?

00:08:12: He's with the clouds.

00:08:14: James Benning, that's right!

00:08:16: I see a bit of Frederick Wiseman and James Bennings in... And such a parallelity, because both are people who pull through their steels that have very similar approaches where you always ask yourself what is he doing this time?

00:08:29: That's why I would be interested in it.

00:08:32: How about you?

00:08:33: Did you actually have a relationship with Weisman before the episode and how did you look at him like that

00:08:39: ?

00:08:39: Actually i only had relatively low relationship to Frederick Weismann.

00:08:45: so i've seen high school once early films from him, which is also actually an institutional study.

00:08:53: And I wasn't really familiar with it anymore .

00:08:59: His name was actually before i saw high school , I think the first time I met in a book by Volker Pantenburg, the film scientist, that means render of the cinema Skoda, Weisman, Costa and Benning.

00:09:13: Also there he is also called with James Benning together.

00:09:21: There I actually saw that for the first time, okay, Frederick Wiseman seems to be termed as a special phenomenon that you have somehow to study separate from other phenomena and afterwards it's very much in the American scene or English-speaking scene a highly preserved figure.

00:09:46: I have the feeling that if i go into the podcast, in the middle of an intermediate position with Weisman.

00:10:02: But I'm already fascinated by the rooms that these films offer us, not only the rooms they show but also the rooms which we offer to develop.

00:10:28: I often have this feeling at Weismant.

00:10:33: There are many interpretations, but also a lot of subtle aesthetic changes that you have to work on yourself.

00:10:43: I think it makes people happy when they see the movie.

00:10:49: offers without forcing you to accept this.

00:10:51: That means that first of all, one has a feeling from the very free space of the separation and nevertheless there are always these moments which feel like key moments when you can then hang up your texts for example .

00:11:14: And I find this relationship very

00:11:16: fascinating!

00:11:16: There are different forms of access somehow ... So did it have never been so strong?

00:11:23: By the director that we talked about here, I really thought wow.

00:11:27: Here it's really about humanity and society in a whole form somehow.

00:11:34: so one set this aspect of just know That I heard when my mother said for the first time at some point there would like to play a mouse.

00:11:42: That is something like what you also think There are an institution.

00:11:48: But through this film, and we're only talking about five now... There are so many faces.

00:11:55: So many characters somehow.

00:11:58: So much processes!

00:11:59: So many things that you can see.

00:12:01: You really have the feeling someone has tried to understand society as a whole through time.

00:12:07: And his view changes too?

00:12:09: I think it's also here to look at how it is in the beginning or at the end even if of course with each institution something has changed.

00:12:15: but You have a lot of fun.

00:12:18: Sometimes you also have such a long while and maybe even a calmness, sometimes it's really a big fear in front of this project.

00:12:25: I think it's always amazing when people do so much and stay there somehow and catalogize like that.

00:12:32: Our species is almost amazing here at work.

00:12:38: Mal drüber reden Lukas ganzes gerne erzählen.

00:12:40: natürlich wer das überhaupt ist hier Frederick Weisman.

00:12:43: Natürlich aber ich fange wie immer woanders an.

00:12:45: auf den ersten blick scheint die bekannteste kreation des britischen malers bildhaus und performance Richard Wilson simpel für zwanzig fünfzig lässt er einen ausstellungsraum mit motoröl fluten bis die glatt schwarze oberfläche die höher gelegene raum hälfte reflektiert uns so verdoppelt einer art großer obsidian spiegel was als teppich auf dem ocean ganze ökosysteme vernichtet wird seiner katzenogenen.

00:13:07: and so to the aesthetic object.

00:13:10: The reality of a room as an effect, the world as a rhyme on itself.

00:13:15: Theories of art have again and again with the mimetic dimension of their opposition.

00:13:20: We first think about Plato.

00:13:21: why that... The movie of the American filmmaker, Frédéric Weisman, tells about a reality that can no longer be seen in real life.

00:13:31: In Law and Order from the year nine sixty-nine, he films a policeman who looks like a sex worker just to throw her on his sword at the end.

00:13:40: You've only created it.

00:13:40: But... We saw it, we have a man inside who is our eye but not necessarily connected to us.

00:13:47: A curious double and triple agent ultimately on the side of seeing and showing an artist of the ordained perception that comments in which he does not comment.

00:13:57: Fredic Wiseman was born at January first in Boston Massachusetts as son of the lawyer Jacob Leo Wiseman and Gertrude Lear-Kotzen who always wanted to become a actress after visiting his Bachelor at Williams College the Yale Law School and is drawn into the army for two years.

00:14:14: While he works as a Jura professor, he goes on excursions with his students to show him the reality of teaching books in the future.

00:14:25: He's interested in films and seems like a producer at The Cool World by Shirley Clarke.

00:14:29: When his first regime work was created, he is already thirty-six years old.

00:14:34: This debut film, Titicat Follies from the year nineteen sixty-seven shows the difficult conditions for the insiders in Bridgewater State Hospital in Massachusetts.

00:14:42: The movie has been kept back by state censors and most copies end up with two text tables.

00:14:49: The first describes a statement of the Supreme Court of the federal government that required Weisman to make a short explanation about the side of the shooting at the State Hospital changes and improvements.

00:15:00: The second text table takes over the required statement in an exact word.

00:15:06: In previews, Carolyn Anderson, author of Documentary Dilemmas Frederick Weisman's Titicat Follies laughed at the audience.

00:15:15: You could talk about malicious complains In the summary, the first text neutralizes the second one.

00:15:21: Unleashes the legal force.

00:15:23: Just because of the seemingly pure representation... ...the exact retribution without extensive change is created by a bitter comment.

00:15:32: If Weisman reflects our world again then under a negative pretext not just for pain or misery but also for places like the reflection in oil to create a new kind of space A hybrid sphere somewhere between pure observation The idea between fact and metaphor.

00:15:51: Weismanskino is a half-spittish, half-loving after-effect of the state of affairs.

00:15:56: A rhythmically arranged and dramatizing forefundener.

00:16:00: He watches, films and analyzes above all institutions – schools, caserns, buildings, zoos, slaughterhouses, shopping malls, parks, galleries and universities even whole cities.

00:16:10: Dourishly targeted facilities or organizations to which human life is carried out Begriff sie nie als hermetisch verriegelte Zellen oder starre Systeme, sondern als Konstellation von Weltbeziehung.

00:16:23: Er interessiert sich für ihre Schwellen und Übergangsräume, ihre Ritual- und Gebräuche, ihre dekorativen Fassaden und die allerheiligste es Für Input und Output, für innere und äußere Verwaltung, für die Geldströme, für den Preis der Dinge, für Den Umgang mit dem Individuum, für Die Beziehungen zwischen Strukturend Einzelpersonen, für Anwohner Angestellten, Verwaltungskräfte und Insassen, the stage, for the center and the periphery.

00:16:49: And in all of this space between it, for floors and entrances... ...and the streets between buildings and branches.

00:16:56: Sometimes it seems as if he would collect blue-poses from which one can rebuild our world when they have gone down once.

00:17:01: The purpose of a system is what it does!

00:17:03: His method remained constant over almost four dozen films.

00:17:07: He doesn't prepare himself particularly well, organizes his access to an institution….

00:17:12: …and films the place many hours away with.

00:17:23: The film is about the research.

00:17:27: I'm trying to get a job that doesn't exist anymore, which might not have existed any more," he explains.

00:17:31: Weisman describes his films as a reaction on the movie DREH.

00:17:34: The shooting process was an observing and intuitive one.

00:17:38: The analytical thought process begins in the cutting room.

00:17:41: In some films he had more than fifty times as much material, like in the finished often still very extensive film content is.

00:17:49: Eremietically lonely, he often brews for six months at his cutting table or later before editing software.

00:17:54: A movie has a script so it's at least determined chronology.

00:17:58: but with documentary movies just how I do.

00:18:01: It's different around me writing the script in the cut room.

00:18:05: and actually the films develop dramaturgies.

00:18:08: They tell stories.

00:18:09: The inner conflicts of an institution are carried out by people.

00:18:13: Some films have figures, others at least body as a medium for ideas.

00:18:17: Weissman is not a theorist but let the theorists speak!

00:18:20: If there's something wrong then... The human attempt to capture phenomena in language, the discussion and monologues are particularly much tidied up.

00:18:29: People explain, tell dense threats, shudder, shiver, rubble and salvage them, buy and sell them, scream and laugh.

00:18:37: Weissman himself is silent!

00:18:39: There's no voiceovers or talking heads... If there are interviews, then he's not the one asking questions.

00:18:44: They also find out without him in town!

00:18:47: He doesn't ask any questions or give instructions to the government and doesn't make a scene afterwards... ...but at the same time gives him an exchange of gloves because his shots were too dark.

00:18:57: He suspects that from half-hour meetings a scene will take place for ten minutes... ...he grabs his arms and builds dams for the river of time.

00:19:04: Critics call him Phyllis Above all, a documentary filmmaker is actually always called something else.

00:19:09: With terms like cinema verité or direct-cinema, the eternal smitten fighter spots, even documentaries are not allowed to happen sometimes.

00:19:16: Sometimes he speaks of reality fictions, possibly also from epic poems.

00:19:21: You imagine an early world where culture does not come from the Iliad and Odyssey, but from Virgil's Anise and Beowulf's Spice, rather than from The Garden, Canal Zone and Multi-Handtiecapped.

00:19:31: Weisman lifts up his own subjectivity and the contingency of his images.

00:19:35: He emphasizes poetic, poetic dramatic dimensions of his work.

00:19:41: The New York Times also titled it in its title, What if the Great American Novelist Doesn't Write Novels?

00:19:46: It is not difficult for Weismans as the great connoisseurs from the second half of the twentieth century to imagine.

00:19:53: In the film itself he finds no matter where you pull him with your camera Other arts, theater groups and dance performances, concerts and readings.

00:20:02: Every medium mirrors the other again.

00:20:04: A film is like a theater piece, a painting of a novel, dancing as if it were a movie... and so on.

00:20:08: Discovered waiting for Godot in the social office, Shakespeare at the park ...and Captain Ahab,

00:20:14: i.e.,

00:20:14: a tragic figure who lives and strives in every human being.

00:20:18: The book by Hannes Brüwiler about Weisman does not include the title ''The actorship of society''.

00:20:26: Weisman often found his inspirations in the literature or in theater, staged self-performing pieces.

00:20:31: For example a version of his film's La Dernière Lettre from two thousand and two.

00:20:35: Ionesco's set on dramaturgy is actually for him from movie editing And calculated the change of letters between Gustave Flaubert and Georges Sainte.

00:20:44: he calls it The best textbook for the film cut!

00:20:47: And that probably writes Flauwbert completely in Weismans sense.

00:20:50: I limit myself to make things as I see them, to express what seems to me like the truth.

00:20:57: I can't turn away from the consequences, rich or poor, winners and losers... ...I won't let anything come of it!

00:21:03: I don´t want love again, hate, pity nor anger with sympathy is something different, you never have enough of that.

00:21:10: By the way, the reactionaries are less protected than those others because they seem more guilty for

00:21:15: me.".

00:21:16: Weisman still finds sympathy for the devil and his biggest enemies.

00:21:19: That does not mean that she doesn't see her guilt, that he doesn´t know the horrors of sadistic values or racist heads nor the responsibility of manipulative dealers or the dumb military recruiters.

00:21:30: but he knows about their function, about how they behave, knows the forces of force and fears of fear makers.

00:21:37: Heroes are with him on those who ask the limits possible during the fall of the horizon.

00:21:43: The people can be filmed by him, because they keep their own perspective on the world.

00:21:48: He himself sees a combination between indifference and Nazism at work.

00:21:53: The complexity in this world is not a sign that political action makes it impossible or that all moral questions are related to it but rather that unobtainable human beings.

00:22:01: Our inner selfishness, the battles in our hearts brings violence and hatred, but also art, love and truth.

00:22:09: Weissmann discovered in every institution a microcosm.

00:22:11: He writes everywhere like Nick Pinkerton that the little pressure of society is visible or as Haskell Wexler describes in film quarterly it strips society to do relationship with forces.

00:22:22: Flaubert asks his letters too.

00:22:23: It's not time for justice to be introduced into art.

00:22:27: The impartiality of the shielding would then come from the majesty of law and the exact time the science.

00:22:36: And as it is called in the afternoon, a kind of scientific curiosity also drives him to make films at any time.

00:22:43: and in the book of exelibris from twenty seventeen Richard Dawkins says, Science Is The Poetry Of Reality.

00:22:49: Weisman understands better than most that filmed reality changes into metaphors , that his close-up of an face more than eye mouth and nose.

00:22:57: he knows about metonyms, the dialectic of editing around the meaning of each individual image.

00:23:04: He knows when the setting of verses and lines will be transformed into a dactyl.

00:23:09: Most people keep their camera distance, especially later in his career.

00:23:14: but his work is more about tendencies because he determines from iron rules.

00:23:18: He uses swings and close-ups, especially in early films such as zooms or matchcuts.

00:23:23: Sometimes, the overly static pictures are broken up by small cars.

00:23:28: Seine Schnitte sind eilig, wenn die Kamera durch die Gänge oder Straßen streift und sich Einstellung für Einstellung vorantastet auf der Suche nach einem Thema.

00:23:35: Und mehr als geduldig minutenlang verharrend, wenn er eine Ansprache einen Vortrag oder ein Austausch entdeckt in dem sich die Welt entblättert.

00:23:43: Weismann ist kein Aktivist und eigentlich auch keines Hüllungsjournalists sondern ein Dichter des realen.

00:23:49: trotzdem Or just because of that, the American horror plays a huge part in this.

00:23:53: Ammo, racism and migration and marginalized social groups come from mental pressure which doesn't value human lives or other urgent issues.

00:24:01: Different approaches to compare his power analysis with Michel Foucault himself in Espen or Kaufhaus play an important role for surveillance and punishment.

00:24:12: Between nineteen sixty seven and two thousand twenty three the forty-seven films almost one a year, including three games for projects.

00:24:20: His films run on big festivals.

00:24:23: He finds Emmys and some small prizes but he gets above all from twenty fourteen prizes for his work of life like Oscar's honor which he keeps in the same year as Jackie Chan.

00:24:31: He gets into his career with the energy of a late-night snack, closes up his work with his life short.

00:24:39: Private fascination will turn to new projects.

00:24:42: In nineteen fifty five he marries Sephora Batchaw who meets him in Yale during her time.

00:24:47: The couple is married until their death in year.

00:24:49: two thousand twenty one sixty years old.

00:24:51: They have two sons and also his seventy-one.

00:24:55: founded production company Sephora Films bears its name Frédéric Weisman.

00:24:59: himself died on February, the sixteenth in Cambridge, Massachusetts in the age of ninety-six.

00:25:06: Flo Berg grubbed further which form one has to choose for his opinion about things that can be said without a conclusion later for a stupid head?

00:25:15: That's a difficult problem!

00:25:18: I think it is best to sign these things that bother you very much.

00:25:23: Sitzing is a ruckus.

00:25:25: Poetic realism Realistic poetry utopian pragmatism, pragmatic utopia.

00:25:30: Zorn is the ability of description and form.

00:25:34: Fredrick Weissman was always skeptical that films could change the world.

00:25:37: Social progress we can measure.

00:25:39: whether my film will become a comedy in one hundred years explains it during an interview.

00:25:43: Interlases us with the task to take things seriously but still laugh at them.

00:26:01: Weissmans mirroring the world is on the

00:26:06: contrary to Robert Wilson's very unquestionable question.

00:26:10: Yes, I'm looking forward to it as well.

00:26:12: Thank you for this great introduction!

00:26:15: It's very interesting that we're at the end of Weisman's life and there is a... an idea for the afterlife.

00:26:22: So maybe these films will work satirically at some point, and I just... Yesterday I did a drawing of Phaidon from Platon Wozogratis with Geister.

00:26:33: And that's why right now I'm still in this mode where Wozokratis also says you have to think about it later on because if I drank the Schillingsbecher concept here somehow then who knows?

00:26:47: Maybe someone else has such a big role in our thinking At least

00:26:51: in the documentary field he does that already.

00:26:53: So if you're right now on a big, maybe an international film festival is about to take place immediately, there will be dozens of victims.

00:27:02: I thank him for example and it was given openly by Philipp Dürings Paliativstation who were very present at this decision.

00:27:08: He's

00:27:08: making us his class, so we have to think about them as well?

00:27:10: Totally!

00:27:11: Or something like the invisible zoo from Humboldt, Kamakar or whatever... In parts, just another zoos by Weisman.

00:27:19: And I mean he also inspired a lot of games.

00:27:23: For example Full Metal Jacket where Cubrick borrowed basic training from before.

00:27:28: Titicat Follies was on the set of One Flew Over The Cuckoo's Nest, watched the whole team.

00:27:35: So i think it is deeper in the world than we perceive

00:27:40: that.

00:27:40: That's exciting!

00:27:42: So that they already saw them as inspirations and have fictionalized it.

00:27:46: J.E.,

00:27:46: is there anything else you want to tell us before we... What can I say in front of you, Will Smith?

00:27:53: or what interests me now?

00:27:55: Before we sit here and watch the movie.

00:27:57: I was actually a little irritated about part-time reception by Fredrick Weisman's work.

00:28:03: for example i had both Reads from Don Cheadle and Ben Kingsley before he took the honor Oscar.

00:28:14: And I was really surprised by some of his formulations, where they actually read that out of their films?

00:28:21: Of course this is partly due to such events as empty, guttural, consumable rhetoric but for me it's already... Films like Die von Federich Weisman or Ben Kingslee do as pure information to describe.

00:28:35: On the one hand, the person in the audience sits there himself in interviews absolutely would repeat this thesis and on the other side when you look at films can also actually read from the film itself wonderfully that it is not exactly his intention.

00:28:52: of course he plays with the reality effect that cinema always has but he knows that it's an effect which he makes by making decisions And I think that this is actually the central point, with which you can deal here.

00:29:12: With... The question of how reality is created?

00:29:15: How do we really understand reality through images?

00:29:17: That's a question that goes through all Frederick Weisman films.

00:29:23: Which are also sometimes explicitly recorded but partly implicitly recorded as well and i thought it was So.

00:29:30: on the one hand, from a reception point of view it is sometimes irritating.

00:29:34: On the other side I think that the films by Frédéric Weisman tend to deal with the most basic things in our world and our perception And they do this in some way which isn't visible directly Because these pictures seem to be quite unobtrusive at first And then load certain things that happen to them, look closer and you can see their more dimensionality.

00:30:04: And this work on the films while seeing it was a fascinating experience for me.

00:30:11: I think we could definitely talk about how one is invited here in order to deal with the most basic stuff without having to transform it directly into a visible, pathetic gesture.

00:30:23: Yes

00:30:24: I thought that would be funny because on the one hand you think somehow are they already like this?

00:30:28: How did i imagine them?

00:30:30: You sit in a lot of rooms and talk a lot about institutions but on the other hand aren't they so expectable?

00:30:39: Because when looking at yourself Maybe that's a bit like experimental cinema, because you're used to it.

00:30:45: Sometimes his attitude changes and sometimes he thinks I still see the point one person makes which is the institution... I think that's why it's important for me to focus on criticism.

00:30:59: Sometimes you feel like... Didi got.

00:31:01: follow is probably one of the few with both sides, sometimes here and there as well.

00:31:07: And because of this comes a complex image from social institutions who are responsible where how these processes work?

00:31:16: Why do we have to look at an abstract level in order to see what kind of institutions exist?

00:31:26: but especially when human beings surprise us Sometimes I find it hard to talk about people's identities, how they fight for themselves and make their points.

00:31:34: By the way i think that because these are all Amis... ...they speak differently than if you were in Germany now or something like this!

00:31:38: I don't know why but those aren´t actors at all.

00:31:40: But sometimes one has a feeling of role or stars watching

00:31:42: them here.

00:31:43: One hundred percent I thought by welfare for example the whole time.

00:31:46: Oh, there is also such a tragic King Lear somehow who rubs against himself and no one says anything about it.

00:31:53: But these people really have their monologue and tell your life so often And everything they feel deep inside.

00:32:01: So this Goffman we all play theater.

00:32:03: That's kind of cliché but sometimes feels like that Especially because then it's so crazy about language rythm As soon as you get into Titicat Follies first really super fascinating metrics and movements down and up the language, but I just think Weisman... is always in the position to get a very simple laugh out of these things.

00:32:25: For example, I have to think about one scene from Central Park where someone first talks for a long time and then there's this little zoom out but we can see that he keeps on talking all the time before a peterodactyl consisting of ballons which you can climb into heaven with.

00:32:42: And such moments are permanent...and I also find Yatidiketfolis maybe one of those films at the beginning who feels like So an entailings video.

00:32:52: I found that also very exciting with which to research, because you can find videos on YouTube that fit the creepypasta so well.

00:33:00: This forbidden video contains really terrible things about their houses and stuff like this one of the movies that makes the worst out of a place at night.

00:33:12: but already in such a movie as Law & Order two films later we have the policemen also somehow in meaningful society civilizational tasks or as grublers who ask themselves whether they should go to other stations so that you can feed your families better.

00:33:28: And I think it's special, because I always buy off his ambivalence.

00:33:33: You know?

00:33:33: We often have a form of ambivalency and versatility especially from arguments for all sides which feel like a hymn about exactly this.

00:33:43: As if one would say yes we've all learned how both sides are supposed to be strong Ohne aufrichtigkeit getan wird wenn jetzt einer ein argument stark macht an das er überhaupt nicht glaubt und dass er nur so alle im bs-mäßig hochpropft.

00:33:59: Und ich glaube weissmann schon, dass ja irgende form von empathie mit diesen leuten hat.

00:34:04: und ich fand bei metzeler side's ganz schön geschrieben der gesagt hat wir schauen mit freilich weissman aufleute und sehen uns selbst und ich glaube das ist schon ganz wichtiger aspekt dieses spiegeln dass sich auch betont habe dass es schon um das allgemeine um das universelle geht in jedem spezial.

00:34:21: Yes, that's definitely true.

00:34:28: Yes, let's talk about these films.

00:34:32: It is not that

00:34:36: easy at Weissmann to think where you are talking now and it is also a bit of the thing if one wants to pass through important stations or topics which interest someone like this.

00:34:56: we always have such an approach in which we want to make historical progress.

00:35:00: That's why we ended up here with Titi Cut Follies.

00:35:04: Then welfare, so Titicat Falls is from seven sixty welfare.

00:35:10: From seventy-five welfare always applies a little bit as one of his best and I think that's the one who has the best evaluation with him on letterbox.

00:35:15: So then i wanted to have missiles in it from nineteen eighty eight because we are already about Today.

00:35:25: I didn't mention the title in the House of Dynamite, where there is always a bit of a fork and of course Dr.

00:35:30: Seltsam, but Missile quasi documentary films about it.

00:35:34: And if you had forgotten half again with this international world situation Of course when we planned that episode Donald Trump was just threatened the Iranian people to get rid of Truth Social.

00:35:47: And that was another strong topic, this drug seems now in the form again from the table even if it takes a while.

00:35:54: then I thought It would be important for me That we have one more film inside which does not directly show an institution but rather a place.

00:36:02: you could also take Central Park But there we took Belfast Main.

00:36:07: I'm also very happy about it now where i saw him, so to speak and then one of the late films.

00:36:13: And here we took Ex Libris.

00:36:14: because we took ex Libris have And that's another institution.

00:36:21: You could have made City Hall, but we also had it at Welfare... So no, you need to weigh a little bit of that!

00:36:25: But then I thought why don't we make Central Park as well?

00:36:29: Because then there will be Double New York and Belfast Main was pretty good too.

00:36:32: so those are the films about which we're going to talk now and this is really cool.

00:36:38: The institution view by Frederick Weisman shows up on these films.

00:36:41: You can hear from here if you support Cat's Finance.

00:36:44: That goes for steadyhq.com slash Cut, because once a month you get this special episode instead of another normal one.

00:36:52: Then we can continue here.

00:36:54: if he does it already then there is now so and so on...