EH: Even though there were other cameras running, I heard you mostly used your own footage for 1 P.M. Though I hear there’s a story about shooting the Jefferson Airplane rooftop concert.
D.A. P: Ricky and I interchanged sometimes—I would do sound for Ricky and he would do sound for me. We never thought of either of us as the prime cameramen. [For the concert], I set up a cam- era for Godard because he’d never shot a camera. I was amazed. He kept saying, “Now, don’t zoom too much.” And I thought, okay, that’s a good idea—Maysles also used to tell me not to zoom so much. So we set up a camera on a tripod in my
office window looking out on the top of the hotel roof. There was a whole shot of his that I never cut a frame out of because it was so good—he was zooming like a crazy kid first encountering the zoom. But it was still interesting because you could see he was looking for something. At one point, he zooms and pans up along the RCA building and comes to the top where it says RCA, looks for a min- ute and goes down again. And I thought if he knew that the Airplane belonged to RCA, and that it was a requirement for us to [incorporate the sign] in order to get them, he would have died. It would have outraged him. [Laughs] But he just filmed it. It’s kind of wonderful.
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