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The story behind Addison Rae's star-making video “Aquamarine.”

I can't always articulate myself. Sometimes I create problems and arguments between my employees and myself. Josh and Bennie Safdie stopped talking to me for months, maybe even a year, because I didn't agree with their editing Heaven knows what –Sean Price Williams

You worked with American documentary filmmakers The Maysles, who are said to have coined the “Direct Cinema Style” of camera work. Tell me about it and how it has influenced you today.

Sean Price Williams: The thing I like about Direct Cinema Style is that the majority of it is still shot in 16mm. This is the format and texture I like – the size of the camera and lenses has a big impact on how you photograph. I love picking up the camera, and with Addison it was cool because she was willing to take the shots. She was doing her thing and I was leaning back and forth, trying to have these cool moments with the light and her. This is the most fun I have shooting. For me, the most exciting thing about older direct cinema films is when you see how they try to find the shot in the film. I tried it with The sweet east to sometimes make the camera a character. I love the idea of ​​a narrative film where you're very aware of the camera.

The Maysles are always active in my head. I was an archivist for Albert Maysles, so I looked at all of his material for most of the films he made in the '60s and '70s. I love all these films. They were really disorganized back then, they didn't know when they were going to launch, they didn't discuss who the star was or didn't know who the celebrity was, and half the time they were filming the wrong people. There's a naivety there that's refreshing. Now when everyone wants everything to be perfect, with tools that make cameras move perfectly, I rebel against that.

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