WEBVTT

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[MUSIC PLAYING]

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I am nervous before
every interview,

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because I feel that, any time
there is a kind of arrogance

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or a sense of "I
know how to do this,

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I'm a good interviewer"
is where something always

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inevitably goes wrong.

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And so I remember the sheer
terror of the first interview

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I did in January
1972, when I was,

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you know, not even 19 years old.

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you know, not even 19 years old.

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I was 18 years old.

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And I try to not recreate it.

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I just want to be humble
enough to realize that we've

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got to put our position and
our people in the best light,

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and I have to put
myself in a position

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to get the best possible stuff.

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And I can't take
anything for granted.

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That's the most important thing.

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[MUSIC PLAYING]

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Part of the reason
that I consider myself

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a student, every time
I do an interview,

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a student, every time
I do an interview,

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is because interviews
can go wrong.

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And you can have a
conversation with somebody

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beforehand and
think, oh, this is

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going to be a great interview.

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And then it's not.

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And sometimes it's stuff
that's going on in them,

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and sometimes it's poor
questioning or poor listening,

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or whatever.

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I always will take the blame.

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If somebody doesn't
work, it's all my fault.

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What I always do for
every interview is also,

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I realize, for those
who are nervous,

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a process of relaxation.

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a process of relaxation.

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I say, I'm not Mike
Wallace of "60 Minutes."

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I don't have your tax returns
for the last 10 years.

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And I'm not going to ask
you a tough question.

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Here's what it's going to be.

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I'm sitting next to this
camera, but you can ignore it.

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In fact, I don't want you
to look right directly

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into the camera, but
I'm going to be right up

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next to the camera.

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And hopefully, you can forget
that the camera and all

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this other stuff is here.

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And then I'm going to
ask you a question.

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And I don't need a one-syllable
answer, a yes or a no.

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I need you to talk, but
I don't need a chapter.

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I need you to talk, but
I don't need a chapter.

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I need a paragraph.

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And just remember that
my question isn't in it.

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So if I ask you, do you
like chocolate ice cream?

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If you say yes or no,
it's meaningless to me.

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But if you say, I love
chocolate ice cream,

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you've just put my
question into the answer.

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And then you can say why
for however long you want.

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And I am able to edit.

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And there are no mistakes.

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We have more than
enough film than you

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will have energy to talk.

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Let's get started.

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And I've sometimes stopped
in the beginning of a roll,

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And I've sometimes stopped
in the beginning of a roll,

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and I say, look, the
light is not right.

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And then the light's fine.

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But when I turn to them and
I say, you're fantastic.

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This is great.

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Even if they're not, if
you see they're nervous,

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I said, this is great.

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Are you a pro at this?

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I mean, do you know how to do?

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You've done this before.

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And they're going, no.

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I say, well, it's just great.

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Let's just do that.

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And we'll go.

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And I've just used the excuse of
making a technical adjustment.

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Or often, it's at the end of
the first roll, if I need to.

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Or in the case of somebody,
you just are struggling

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and you don't know what to do.

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And then you find
a way in, and you

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And then you find
a way in, and you

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ask something that prompts
an emotional answer.

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And then, once
that happens, then

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these sort of artificial
walls break down--

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the fourth wall, the third
wall, the second wall,

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and the first wall.

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And then it's you having
some kind of exchange

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with somebody else.

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And so you look to
just put them at ease.

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[MUSIC PLAYING]

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The single most important
thing about interviewing

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The single most important
thing about interviewing

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is listening, is hearing
what they're saying.

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You come with a
list of questions,

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and you're trying to work
your way through them.

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And there's a kind of anxiety
and there's an imperative

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to oh, I've got to get
through all of these things.

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And what you want to do is
listen, because sometimes

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that Question 7 also suggests
7A, B, C, D, E, F, G.

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And you need to be
prepared for it.

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It's not like,
uh-huh, uh-huh, OK now

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let me ask you about this.

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If you haven't heard
what they've said or seen

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If you haven't heard
what they've said or seen

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the twitch in
their cheek, you're

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going to miss the possibility
to go off and get some gold

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that you didn't expect.

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And that's happened
a lot with us,

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that we've been able to pull
some really interesting things

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that we didn't know that they
were going to talk about.

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I listen hard, and I
listen visually hard.

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So I'll sit there, and I'll
listen to the question,

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and I'll nod like this.

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And the reason why I do
that is to keep the beam

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and focus of what
they're saying,

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and focus of what
they're saying,

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so that they're not
beginning to meander.

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If they do meander,
then I cut that off,

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and I end the contact with them.

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And it has a disconcerting
effect for them,

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is that they tend to wrap it
up, if I've got an exaggerated

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uh-huh, I'm hearing,
yes, that's-- you know,

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like that's so interesting.

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That's great like this.

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Because I don't
want to interrupt.

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The worst thing you
can do is say, uh-huh,

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because that blows the thing.

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But you know, listen hard.

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That permits you to also lean
back or to lower your question.

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That permits you to also lean
back or to lower your question.

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And then you can actually get
people to slow it down, get

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people to shorten it,
get people to stop,

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without being rude and
saying, you know, look,

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that was way too long.

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Can you say it again?

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Which I will never do.

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[MUSIC PLAYING]

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This is an old thing.

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It's called a fax.

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It's on shiny paper
of an interview

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I did with Wynton Marsalis.

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I did with Wynton Marsalis.

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Let's see if there's
a specific date.

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There's not.

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And I get a set of
questions, and they're

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kind of listed general.

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And then we move
to some specifics.

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But what I've done is,
after I've received them,

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I start writing in other things.

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And I then begin to order.

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I don't like that order.

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I start off, and I say to
him, completely made up by me,

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why are we compelled
to study jazz?

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Why are we drawn to it?

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And he gave whatever
response he gave.

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And I just then said,
well, what is jazz?

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And I just then said,
well, what is jazz?

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Which was the first
question originally.

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And then the question
was the blues.

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I thought I'd cross that out.

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And I said, I'll get to that.

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The third question, what
does the word jazz mean?

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Because there's
lots of definitions.

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And then, you said that
jazz is the distillation

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of the American spirit
and the truest mirror

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of our national identity.

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Why?

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It was something
he'd said to me.

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So I'm still-- the
only thing that I've

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asked that was a question
is, what is jazz?

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I've now done other things.

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And I said, is it improvisation?

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Is that the most
important aspect?

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Is that the most
important aspect?

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Is it about America?

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So you're going to start,
in your questioning,

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pretty general.

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And you can end up with
something that is as absurdly

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simple as, what is jazz?

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But I need to be able to listen
to Wynton and just pursue it.

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And so what we got out
of him is unbelievable.

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I mean, he was sitting there
with just his horn and his hand

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patting, and he was the entire
Count Basie orchestra for us.

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And he would say-- and then,
you know, Count Basie goes,

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blink, blink.

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And then it's this
person, da da.

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And he's either doing
it with his mouth.

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And it is-- nobody said, ask
him about how the Count Basie

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And it is-- nobody said, ask
him about how the Count Basie

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orchestra sounded.

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It's something that
happens, because you

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create certain conditions in
the questions that you ask.

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But it's real relaxed,
but everybody's just

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swinging and grooving.

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Then you've got the trombones,
ohh, bah dode, dode dit.

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Different ones.

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Trumpets-- dit, dit, dit dit.

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Look at this.

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The saxophone-- (SINGING)
Doo, de doo, diddly.

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Then you got Sweets
in there-- (SINGING)

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Do doo-doo dit, dit,
bee boo, doo-doo lit dit

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deedle, doo-doo lit dit doodle.

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I mean, you're swinging.

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I mean, you're swinging.

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[MUSIC PLAYING]

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You come into an interview.

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You've got a set of needs.

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You know, I need this
person to cover this.

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And you hope they do it
well, and you don't know.

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And you're going to
accept whatever it is,

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whether that it's terrible,
and you're not going to use it,

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or whether it's
great, and it's going

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to be a central
figure in the film.

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But the one thing
you can't do is

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have this lack of respect for
what the process of photography

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have this lack of respect for
what the process of photography

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is.

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Susan Sontag's written about
this, and there is a sense--

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and many native peoples
feel this, too-- that,

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when you take a picture,
you've stolen the soul,

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and that there ought
to be some exchange.

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There's some huge moral
and ethical dilemma

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that faces any of us who are
in the business of acquiring

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imagery.

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Somehow you have to begin
to create in yourself--

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and this is where my teachers at
Hampshire College, particularly

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Jerome Liebling, who was a
still photographer, as well

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Jerome Liebling, who was a
still photographer, as well

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as a filmmaker, and
insisted on a kind

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of ethical and humanistic
relationship to the people

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that you're dealing with.

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Now, maybe this is going
to be a commercial exercise

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for some people.

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And then it is just squeezing
whatever, you know, blood

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you can get out of that stone.

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But for us, it's not.

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I can't be engaged in that.

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And so I have
certain obligations.

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I can't not be
connected to the people.

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The veterans that were
in the Vietnam film,

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The veterans that were
in the Vietnam film,

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we're continuing to see films
going back years and years

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and years of people
are still alive.

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They're part of the family.

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And I think maybe
you ought to conduct

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an interview is if you're
going to bump into them again

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after the film is out.

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[MUSIC PLAYING]

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One of the greatest
bites I've ever

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had in my entire life,
that's set, in some ways,

00:09:26.930 --> 00:09:30.000
my career in motion,
which is the last comment

00:09:30.000 --> 00:09:30.500
my career in motion,
which is the last comment

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of the Brooklyn Bridge
film, was a comment

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made to Arthur Miller.

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And I had been bugging him for
months and months and months

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to give us an interview.

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And he kept turning me
down and turning me down.

00:09:41.367 --> 00:09:43.700
But he'd written a play called
"A View From the Bridge,"

00:09:43.700 --> 00:09:45.830
and every edition I'd
ever seen had a picture

00:09:45.830 --> 00:09:47.210
of the Brooklyn Bridge on it.

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And finally-- and
this is a lesson

00:09:49.070 --> 00:09:51.375
about doing your homework--
he finally said, yes, I'm

00:09:51.375 --> 00:09:52.500
sure just to get rid of me.

00:09:52.500 --> 00:09:54.800
He gave me directions
to his Connecticut farm.

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We're driving up there.

00:09:55.760 --> 00:09:57.770
I pick up a copy of "A
View From the Bridge,"

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and realize it has nothing
to do with the Brooklyn

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Bridge, nothing.

00:10:00.000 --> 00:10:01.700
Bridge, nothing.

00:10:01.700 --> 00:10:02.570
So I arrive.

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I'm 5'8".

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He's like 6'7", and he opens
the door, and he leans over,

00:10:05.840 --> 00:10:09.140
and he says, I don't know
a goddamn thing about

00:10:09.140 --> 00:10:09.980
the Brooklyn Bridge.

00:10:09.980 --> 00:10:12.110
And I'm there, like,
just end it now.

00:10:12.110 --> 00:10:13.460
Just kill me, whatever.

00:10:13.460 --> 00:10:16.004
And I guess he took pity,
and he said, OK, come on.

00:10:16.004 --> 00:10:18.170
Now, we were expecting to
spend an hour or two hours

00:10:18.170 --> 00:10:20.789
setting up in his living room
or his office, or whatever.

00:10:20.789 --> 00:10:21.830
And he said, come around.

00:10:21.830 --> 00:10:22.913
It was the late afternoon.

00:10:22.913 --> 00:10:25.280
The light was fading, the fall.

00:10:25.280 --> 00:10:26.960
And I get on an
apple crate to get up

00:10:26.960 --> 00:10:29.210
to his height, but
not his stature.

00:10:29.210 --> 00:10:30.000
We don't even have time
to change the camera

00:10:30.000 --> 00:10:31.640
We don't even have time
to change the camera

00:10:31.640 --> 00:10:34.460
from the morning shoot,
so we've got maybe three

00:10:34.460 --> 00:10:36.820
minutes in the
magazine, and the same

00:10:36.820 --> 00:10:39.920
with the reel-to-reel tape.

00:10:39.920 --> 00:10:41.990
And I don't know what
question I asked him,

00:10:41.990 --> 00:10:46.400
but his answer, 100% of it,
is in the film, and the very

00:10:46.400 --> 00:10:48.440
last comment of my very
first film, which has

00:10:48.440 --> 00:10:50.240
kept me going as a polestar.

00:10:50.240 --> 00:10:51.620
I became friends with Miller.

00:10:51.620 --> 00:10:53.420
He became a voice
in all my films.

00:10:53.420 --> 00:10:56.210
And we stayed in
touch until he died.

00:10:56.210 --> 00:10:58.820
I would go to his house
and share finished films.

00:10:58.820 --> 00:11:00.000
But it was that one
terrifying moment.

00:11:00.000 --> 00:11:01.310
But it was that one
terrifying moment.

00:11:01.310 --> 00:11:03.780
And my question is irrelevant.

00:11:03.780 --> 00:11:04.700
It's what you get.

00:11:04.700 --> 00:11:06.740
Because my questions
get edited out.

00:11:06.740 --> 00:11:09.890
So if that's your style, that
it isn't a true interview,

00:11:09.890 --> 00:11:12.620
in which you're seeing the
person who's asking questions,

00:11:12.620 --> 00:11:14.070
it ain't about you.

00:11:14.070 --> 00:11:15.380
It's about the answer.

00:11:15.380 --> 00:11:17.690
And then you've got
something that you may

00:11:17.690 --> 00:11:20.640
be able to use down the line.

00:11:20.640 --> 00:11:23.860
See, the city is fundamentally
a practical utilitarian

00:11:23.860 --> 00:11:24.360
invention.

00:11:24.360 --> 00:11:26.760
And it always was.

00:11:26.760 --> 00:11:30.000
And suddenly, you see this
steel poetry sticking,

00:11:30.000 --> 00:11:30.280
And suddenly, you see this
steel poetry sticking,

00:11:30.280 --> 00:11:32.040
and it's a shock.

00:11:32.040 --> 00:11:35.250
It-- It puts
everything to shame,

00:11:35.250 --> 00:11:37.680
and it makes you
wonder what else

00:11:37.680 --> 00:11:42.360
we could have done that
was so marvelous, uh,

00:11:42.360 --> 00:11:44.100
and so unpresumptuous.

00:11:44.100 --> 00:11:46.050
It carries its weight.

00:11:46.050 --> 00:11:47.970
It does what it's
supposed to do.

00:11:47.970 --> 00:11:51.330
And yet, I mean, they could have
built another Manhattan Bridge,

00:11:51.330 --> 00:11:52.560
couldn't they?

00:11:52.560 --> 00:11:53.310
And he didn't.

00:11:53.310 --> 00:11:56.820
He really aspired to
do something gorgeous.

00:11:56.820 --> 00:12:00.000
So it makes you feel
that maybe you, too,

00:12:00.000 --> 00:12:01.800
So it makes you feel
that maybe you, too,

00:12:01.800 --> 00:12:06.080
could add something that
would last and be beautiful.