William Greaves’s multilayered metafiction—based on a scripted scene of a couple in crisis—is a documentary about the very nature of fictional films, and the authority of a director trying to make them. Greaves films himself, his actors, and his crew at work in Central Park, interacting with one another and with whomever happens to be there, and also includes the crew’s own critique of his methods and even his character.
(1970, D. A. Pennebaker)
In this documentary of the making of a studio recording, Pennebaker captures performances of a historic greatness (especially by Elaine Stritch), filming with a sensitive synergy in long
Continue reading at source website