Weiner Chapter 7

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S.R. I have one more question and I want to ask you this question in different place later, but this again in here: Is it right – and this is more a different reflexion level on the process of filmmaking - is it right that the artist in front of the camera has only two options: to play the role of the authentistic artist or to speak about the production of the authenticity (..) in the process of filmmaking?

L.W. (..) No, it's not right. Both things can be done, but to speak about the authenticity is making the sales pitch. To play the artist is again trying to set up some sort of a position that people can read. I accept this kind of a situation; and it took us a while (doing a dance)? to accept it. If you do use the public space to present things you have an obligation when asked to try to answer questions. But that's a different thing, that's fulfilling part of the social role. But playing the artist - there is no such thing as what an artist is like. Some very nice people make terrible art, and some absolutely dreadful people make extremely interesting stuff. You find yourself always like I did in a television interview in France with a [...] local minister of culture, where -it was a right-wing section of France- and they were upset that I was having a statute that was dedicated to Jean Genet and Querelle de Brest, and I decided not to explain but to say: Look, you can have Cheline', if somebody elses kid can have Genet, and then you'll have a full culture. It's the product. That's what you do, you just make yourself available to answer questions.

S.R. But if I understand it right you are considering this process of talking on your practice to the process of publication of your work. So it's a part of the work.

L.W. I don't see it as a part of my work, I see it as part of my social obligation. It's not something I would do. If left to my own devices and I make movies, I have facilities I would not make a movie explaining what I do. I wouldn't know why anybody would have to because what I do is pretty obvious and pretty simple (..) in the end. And as most things it might be complicated to begin with, but it's pretty simple in the end.

S.R. [...] What is your reception of the reception of your work? Do the people see the writing on the wall, drawing on the wall still as a provocation?

L.W. I don't know who the people are, you would have to talk about a people and you would have to be specific. There is a book coming out in Berlin of a compilation of whatever they found, but it's a lot of stuff by ? and Gregor Stemrich, and it's from 1986 to 2003, and it's rather amazing, especially the newspaper things they found. They ask the same question – always. So I don't know what a public or the public would really say.

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