MELISSA BLOCK, Host:
NPR's Sami Yenigun has this remembrance.
SAMI YENIGUN: No matter who Richard Leacock filmed, he always let his subjects speak for themselves. It's just one of the self-imposed rules that he outlined in an interview on his website.
RICHARD LEACOCK: We were shooting handheld, no tripods, no lights, no questions, never ask anybody to do anything.
YENIGUN: The approach became known as cinema verite, a style of documentary that took the camera out into the real world. He helped develop smaller portable cameras that allowed audiences into back rooms unreachable to the tripod-docked clunkers of the time.
ALBERT MAYSLES: You didn't need a crew of four or five people. So with just two people, you could come that much closer to getting the real thing. That's the cinema verite.
YENIGUN: Albert Maysles is a filmmaker and longtime friend of Richard Leacock. They first worked together on a documentary called "Primary," a behind-the-scenes look at the 1960 race between John F. Kennedy and Hubert Humphrey.
(SOUNDBITE OF DOCUMENTARY, "PRIMARY")
BLOCK: Which way? What do you got? A lot of money there? Hey, that's just what I need for my campaign. Can I have that?
YENIGUN: The film was shot by Maysles and Leacock, and edited by D.A. Pennebaker.
PENNEBAKER: We could be sort of unseen filmmakers in their back rooms, and that was the first time that, I think, anybody had ever done this.
YENIGUN: This collaborative team of documentarians used their fly-on- the-wall approach later in "Monterey Pop."
(SOUNDBITE OF SONG, "HEY, JOE")
JIMI HENDRIX: (Singing) Hey, Joe, where you going with that gun in your hand?
YENIGUN: The secret to Leacock's filmmaking was in his character, says Albert Maysles says.
MAYSLES: There was a kindness with everything that he shot. The way he looked, his whole composure, you know, would put people at rest - I can trust this guy. And the result was some of the best filmmaking that we've ever seen.
YENIGUN: Sami Yenigun, NPR News.
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