"I think one of the major things a director has to do is to know his subject matter, the subject matter of his script, know the truth and the reality of it. That's very important"
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Wise isn’t selling romance about “vision”; he’s laying down a craftsman’s ethic that quietly rebukes the auteur myth. Coming from a producer-director who moved between genres with unnerving competence (The Day the Earth Stood Still, West Side Story, The Sound of Music), the line reads like a manifesto for professionals: style is optional, reality isn’t. “Know his subject matter” sounds basic until you hear what he’s really fencing off: the director as dilettante, parachuting into worlds they don’t understand and papering over ignorance with technique.
The repetition does the work. He circles “subject matter” twice, then upgrades it into “truth” and “reality,” as if the script is only the entry ticket. Wise is pointing at the off-page labor: research, consultation, listening, getting the texture right. It’s an insistence that movies, even glossy studio ones, earn their authority. In mid-century Hollywood, where production schedules were brutal and “coverage” could substitute for thinking, this is a subtle power move: the director’s job is not just to orchestrate departments but to protect the story from falseness, including the falseness studios often incentivize.
There’s also a producer’s subtext: truth is an efficiency strategy. If you understand the real stakes of your material, you make cleaner choices, you waste less time chasing empty spectacle, and you can argue for what matters when committees start sanding down specificity. Wise’s realism isn’t gritty; it’s disciplined. He’s saying credibility is the foundation that lets anything else - sentiment, suspense, even musical uplift - land without collapsing into kitsch.
The repetition does the work. He circles “subject matter” twice, then upgrades it into “truth” and “reality,” as if the script is only the entry ticket. Wise is pointing at the off-page labor: research, consultation, listening, getting the texture right. It’s an insistence that movies, even glossy studio ones, earn their authority. In mid-century Hollywood, where production schedules were brutal and “coverage” could substitute for thinking, this is a subtle power move: the director’s job is not just to orchestrate departments but to protect the story from falseness, including the falseness studios often incentivize.
There’s also a producer’s subtext: truth is an efficiency strategy. If you understand the real stakes of your material, you make cleaner choices, you waste less time chasing empty spectacle, and you can argue for what matters when committees start sanding down specificity. Wise’s realism isn’t gritty; it’s disciplined. He’s saying credibility is the foundation that lets anything else - sentiment, suspense, even musical uplift - land without collapsing into kitsch.
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| Topic | Movie |
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| Source | Help us find the source |
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