Weiner Chapter 6

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S.R. I remember that you were really critical on an interview on a film project. But I can't exactly remember what was the point?

L.W. The point was that it was ... Garry Schum was a great guy, and I liked working with Garry a lot, but he still had the idea that the camera was an eye outside of the culture. If it's an eye outside of the culture, then it's from outer space. I thought that there wasn't enough of an awareness – maybe the technique maybe at that point video and film ... were not developed enough that there could be far more interaction, I thought there could have been more interaction. We discussed it a lot; we did the best we could. When I decided ... when they were asking me since they were showing all of the work Garry had done ... it was not a criticism, it was saying that obviously I didn't continue that line of video because it didn't seem to be satisfactory to me. I did not want to be making documentaries about myself. So it wasn't an attack or anything ... I'm sorry when people die [...], and you worked with them over the years, but one doesn't have to always say: Oh, it was marvellous, it was marvellous ... It was a working process, that's why we made so many of them, trying to get it right.

S.R. Of course, and I think that's the way to do it; bring it into the whole focus, not only the nice sides.

L.W. ... yes, that's im Strom des Lebens, to bring it into the stream of life. But in fact it can never get out of the stream of life. A joke ... because I do a lot of public projects lately [...] What's public art? If I'm part of the public, I pay taxes, I took my kids to the dentist ... therefore public art is for yourself.

S.R. ... of course ...

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