History of Reality Film
"The thinking behind these pics is not new," wrote Gabriel Snyder in Variety about the techniques employed by recent reality movies. "In the 1950s, Samuel Arkoff tapped into teen auds with quickies like Rock All Night and Reform School Girl and beach films such as Bikini Beach ("It's where every torso is more so, and bare-as-you-dare is the rule!"). London's Evening Standard called Andy Warhol's 1966 film Chelsea Girls a reality film and noted that the Radio Times Guide to Film 2007 stated it was "to blame for reality television." The film consists of drugged-out conversations between Warhol Superstars Nico, Ondine, Brigid Berlin, Mary Woronov and Gerard Malanga. "I was the only one who memorised my lines," said Woronov, "and no one even noticed." In 1970, Candid Camera creator Allen Funt made the film What Do You Say to a Naked Lady?, where he secretly filmed people's reactions to unexpected encounters with nudity in unusual situations. However, it was with the advent of reality television, which presents purportedly unscripted dramatic or humorous situations, documents actual events, and features ordinary people instead of professional actors, combined with the smash box-office success of Jackass The Movie in 2002, that made reality film a genre studios began to consider seriously. The Real Cancun billed itself as "the first reality feature film", causing Scott Foundas to remark in his review in Variety that such a claim is "apparently ignoring last year's Jackass The Movie". In 2003 Comedy Central aired its feature length reality movie Windy City Heat, starring Tony Barbieri and Bobcat Goldthwaite (who also directed). In the movie, friends of real life aspiring actor Perry Caravello convince him he is playing the lead (as a "sports memorabilia private eye") of an action movie titled "Windy City Heat," itself faux-directed by Bobcat Goldthwait; everyone is in on the elaborate joke except Caravello.
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“History is the present. That’s why every generation writes it anew. But what most people think of as history is its end product, myth.”
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“A good film script should be able to do completely without dialogue.”
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