One doesn’t really interview Katharina Otto-Bernstein, one has a conversation—and a delightful one at that. Otto-Bernstein is charming, intelligent, and lucky to have had a random meeting with Robert Wilson at a party. Here is a person who appears to have total recall of not only the subject of her recently released documentary Absolute Wilson, but also everyone even remotely involved in the seven-year project. Our conversation roamed from her recent film to the way Americans are perceived in Europe. Surprise! It’s not always negatively… especially when we “send” ambassadors like Robert Wilson.

Ms. Otto-Bernstein can go on for a very long time talking about Wilson, which is no great surprise considering she followed him closely for seven years. She describes his normal day as one of constant work, noting that “Wilson is obsessed with work.” He never rests, he sleeps very little. She notes that he is “a creative genius or he has ADD, or both.”

During the film, I noticed that he seems to work nonstop. When I asked if this were his “normal” pattern, Otto-Bernstein concurred. “His work ethic and solitude enable him to do many projects at once. He talks on the phone to one person while drawing new stage sets on a pad of paper.” And yet “he is able to keep all of his projects segregated in his mind.” Otto-Bernstein describes Wilson as someone who deals well with difficulties by simply moving on to a different project.

Otto-Bernstein also mentioned that “he multitasks very well. He does not sit still. When he travels he works… He is drawing or writing stage blocking.” Consequently, “his nomadic and kinetic ways have left him without many friends.” But his work output is prodigious. A common occurrence for Wilson is to attend several of his projects at different stages of development in different cities in one day.

He has staff that preps his work ahead of his arrivals. He has been known to travel to Europe to attend a lighting rehearsal of one of his performances in Venice, a dress rehearsal in Geneva, and a reading in Madrid. Despite this relentless work schedule filled with simultaneous productions, he stays “very much present” at each stage of a production.

I asked: Is he a reader? How does he create or gain inspiration? “He can look at a forest and be reminded of Wagner. He gets invited to stage an opera. He looks more than reads. He will sit down with a pad and say, ‘tell me the story.’ He will then Wilsonize the entire opera.” Otto-Bernstein continued, “Because as a child he was language-impaired, he seems to think outside normal stage visuals. He is a genius at using light and purity.” As an example, Otto-Bernstein muses: “Let’s say Wagner for example: there will be a dwarf and a rock. The symbols will all be there. But there may not be much that actually looks like the rock and dwarf you and I imagine.”

Otto-Bernstein described Wilson’s childhood, attributing his courage to defy the norm to his language and developmental problems. “He could barely talk as a child. No one expected anything from him. He has performed far beyond any expectations.” She also adds that “he gives hope to children with disabilities.” Wilson’s personality appears to be borderline autistic when he is on stage. He is amazingly intense and seems to be listening only to his vision. Watching him is not dissimilar to watching a child when there is no one else around. In short, when he is performing, he does not appear to need encouragement but expression. He already has license.

I couldn’t resist a chance to tell a documentarian what I think a documentary should be. (See my reviews of Absolute Wilson and Deliver Us From Evil). And I think I have found a kindred spirit in Otto-Bernstein. Her work on this documentary was extensive enough for her to sacrifice her ideas (and her life) to become an empathetic observer. My short conversation with her convinced me that she is perfect for this sort of work. She is a delightful and observant person with an easy laugh. She is engaging, non-judgmental, and has a tremendously open interest in learning about other people. Ms. Otto-Bernstein says that “a documentary is about the accidents that happen.” It takes time (like seven years’ time). She appreciates the fact that she could spend the seven years it took to do a good job of introducing us to Robert Wilson. “You can’t manufacture a documentary.” In this instance it was merely filming “a day in the life.” She actually found Wilson’s odd work schedule and artistic integrity quite inspiring. His marginal childhood has given him a hard shell that refuses to bend to the whims of “experts.” He doesn’t allow for discussion or rethinking of his ideas. Otto-Bernstein said, “Time is lost in discussion. One tends to cave in to the demands and expert opinion during discussion. Besides, time discussing delays completion and the creative expression is often compromised.” She added after a pause, “Wilson is very inspiring in this way.”

This short film is the edited result of nine hours of footage. When I asked what happens to the additional six-plus hours of film, without hesitation she said, ”Directors-cut DVD!”

I asked why she thought that artists like Robert Wilson are often overlooked by their own countrymen. “When someone is three years ahead of the curve artistically he is considered an artistic genius… Ten years and you are a nut.” She illustrates: “For instance, Wilson’s play version of Lohengren opened to boos in Italy in 1996. In re-release five years later, the critics raved about how progressive and bold it was. Critics praised the re-work. Wilson just re-released it, without changes.” This is a reality that, as a critic, I will take to heart. I think that as critics we start to believe we “own” the artist to a certain extent, and that limits our objectivity. We think we understand our guy, so when he is unpredictable our view is that he has lost his vision. Seven years with Wilson is a good way to avoid this type of mistake.

After Paris this month, other people will finally be Katherina Otto-Bernstein’s focus. She will be moving on to other things. Robert Wilson will continue to work as he does. Let’s hope her hard work earns her the wide viewing of her documentary and the deserved kudos to Robert Wilson.

An observation: I have always admired documentarians. Their work is painstaking, and swings from boring to frantic. The result of their dogged determination is often more than just a work of art. Of course, it is a labor of love. Many times there is a disappointing amount of financial reward. This must be dually heartbreaking, first because you don’t get your investment in life or money, and second because it can appear that the world is apathetic once again to a topic that is really well worth the short time we may spend just attending a showing. Katharina Otto-Bernstein is a big girl. She doesn’t need our encouragement, but I hope Absolute Wilson is not ignored. Robert Wilson has weaknesses like anyone else, but I was spellbound to watch this man who appears to be an adult autistic, producing such striking work. This really is interesting and great film-making. It would be a shame to use the word “documentary” as an excuse to miss this film. It is a documentary in practicality, but in reality it is a joy.

Courtesy of a Hollywood publicist, Mike spoke over the phone with Ms. Otto-Bernstein. Please also see Mike’s review of Absolute Wilson.