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I’m not always articulate in how I express myself. Sometimes I create problems and riffs between collaborators and myself. Josh and Bennie Safdie stopped talking to me for months, maybe even a year, because I disagreed with their edit of Heaven Knows What – Sean Price Williams
You worked with American documentary makers The Maysles, who were said to have coined the ‘Direct Cinema Style’ of camera work. Tell me about that and how it’s influenced you today.
Sean Price Williams: The thing I like about Direct Cinema Style is the majority of it is still shot on 16mm, which is the format and texture that I like – the size of the camera and lenses have a big effect on how you shoot. I like to grab the camera, and with Addison it was cool as she was up for finding the shots. She would do her thing and I’d be bending all over the place, falling over to try and find these cool moments with the light and her. That’s the most fun I have shooting. In older Direct Cinema films, when you see them trying to find the shot in the movie, that’s the most exciting thing for me. I tried with The Sweet East to make the camera a character, at times. I love the idea of a narrative film where you’re very aware of the camera.
The Maysles are always actively in my head. I was an archivist for Albert Maysles, so I looked at all of his material for most of the films that he made in the 60s and 70s. I love all those films. They were really disorganised back then, they didn’t time when they were going to roll out, they didn’t discuss who the star was or know who the celebrity was and were filming the wrong people half the time. There’s a naivety that’s refreshing. When everyone wants everything to be perfect now, with tools that make cameras move perfectly, I have this revolt against that.
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
tags from
I’m not always articulate in how I express myself. Sometimes I create problems and riffs between collaborators and myself. Josh and Bennie Safdie stopped talking to me for months, maybe even a year, because I disagreed with their edit of Heaven Knows What – Sean Price Williams
You worked with American documentary makers The Maysles, who were said to have coined the ‘Direct Cinema Style’ of camera work. Tell me about that and how it’s influenced you today.
Sean Price Williams: The thing I like about Direct Cinema Style is the majority of it is still shot on 16mm, which is the format and texture that I like – the size of the camera and lenses have a big effect on how you shoot. I like to grab the camera, and with Addison it was cool as she was up for finding the shots. She would do her thing and I’d be bending all over the place, falling over to try and find these cool moments with the light and her. That’s the most fun I have shooting. In older Direct Cinema films, when you see them trying to find the shot in the movie, that’s the most exciting thing for me. I tried with The Sweet East to make the camera a character, at times. I love the idea of a narrative film where you’re very aware of the camera.
The Maysles are always actively in my head. I was an archivist for Albert Maysles, so I looked at all of his material for most of the films that he made in the 60s and 70s. I love all those films. They were really disorganised back then, they didn’t time when they were going to roll out, they didn’t discuss who the star was or know who the celebrity was and were filming the wrong people half the time. There’s a naivety that’s refreshing. When everyone wants everything to be perfect now, with tools that make cameras move perfectly, I have this revolt against that.
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
