纪录片和由人扮演的艺术片不同,纪录片的导演要处理现实生活和真实的、而非虚构的人物。他本能够支配他们的动作,不能干涉他们的行动,不能给他们的行动以提示、假如一个导演想干涉事件的进程,想使那些事件符合他自己的意图的话,那么他的工作就必然接近于编剧了。是不是在‘纪实’、‘生活的事实’与‘导演’这些概念之间没有矛盾呢?在我开始搞纪录片工作的时候就已经想到这个问题。当导演力求更全面而生动地表现一部影片的主要思想时,他应当善于从他所观察到的丰富的生活现象中‘看出’和选取那些能最鲜明、最有表现力地反映崭新的、进步的、新生的事物的东西。这取决于‘导演眼睛’的敏锐性。这眼睛应该发见的:‘最重要的不是现时似乎坚固、但已经开始衰亡的东西,而是正在产生、正在发展的东西,那怕它现时似乎还不坚固’。(斯大林语) 不久以前,在拍摄影片‘苏维埃摩尔达维亚’时,我们把注意力转向那种一眼看上去好像是平凡的,毫不显著的事实。在摩尔达维亚的首都—萨朗斯克的街上出现了电钟,萨朗斯克是一个不大的城 Unlike documentary films, directors of documentaries deal with real life and real, not fictional characters. He could have dominated their movements without interfering with their actions, with no instructions to their action, and if a director wanted to interfere with the process of the incident and want to bring those events into line with his own intentions, then his work would inevitably approach Screenwriter. Is there any contradiction between the concepts of ’documentary’, ’fact of life’ and ’director’? I started to think of this when I started my documentary work. When the director seeks to present the main idea of ​​a film more completely and vividly, he should be good at ’seeing out’ the rich life phenomena he has observed and selecting the most vivid and most expressive, Progressive, new things things. It depends on the sensitivity of the director’s eyes. What this eye should see is: “What is most important is not what appears to be solid but has already begun to decline, but what is being produced and is being developed, even if it does not seem to be strong at the moment.” (Stalin) Not long ago, when filming the ’Soviet Moldavia’, we turned our attention to the kind of trivial fact that seemed trivial at first glance. In the capital of Moldavia - Salask street appeared on the clock, Saransk is a small city