In an interview that took place during FICA Vesoul, Wang Bing reflected on his working method, his relationship with the people he films, and the assumptions often made about his documentaries.

Asked how he decides when to stop shooting, especially given the extended duration of both his filming periods and finished works, Wang explained that each project determines its own length. There is no preset rule. The material itself dictates how long the camera needs to remain present, as some situations require more time to unfold than others. As he noted, there are many ways to make a film, and a director cannot try all of them. Just as one cannot eat every kind of food, one must choose a particular approach for each project.

He also addressed the concern that the presence of a camera might alter reality. According to Wang, this may be true in short term news style shoots, where the camera can influence behavior. However, when filming lasts months or even years, people gradually stop noticing it. The camera becomes part of their environment, and life resumes its natural rhythm.

Wang strongly challenged the frequent description of his subjects as people “on the margins of society.” He considers this judgment fundamentally wrong. In his view, the people he films are simply ordinary individuals living their lives. The notion of “margins” reflects how society chooses what to show and what to hide, rather than a real distinction between types of people.

On the subject of trust, Wang rejected the idea that it is something a filmmaker must actively try to build through specific methods. For him, trying to manufacture trust becomes a form of deception. Instead, the process is simple and natural. One tells people the intention to film, and the relationship develops honestly. If people trust you, they trust you. If they do not, they do not. There is no technique involved, only personal honesty.

When asked whether cinema can change people’s lives, Wang offered a measured perspective. Films do not function like practical tools that produce immediate results. Cinema, he argued, is part of culture. It helps us understand the world, memory, history, and social reality over time. He noted that many of the individuals he filmed in earlier works have since passed away. In that sense, the films could not change their lives directly, yet the act of documenting them still holds meaning.

His approach to editing follows the same principle. He does not think about the audience while shaping the material. Instead, he reviews the footage and gradually finds a path that feels most authentic and closest to the lives of the people filmed.

Regarding the current state of documentary filmmaking in China, Wang avoided broad judgments, stating that each filmmaker works from their own life experience and perspective, and there is no single model that documentaries should follow.

Now based mainly in Paris, Wang travels frequently and does not currently plan to return to China. He confirmed that he is working on a new project this year, though he chose not to share details.

Throughout the discussion, Wang Bing emphasized a simple principle: filming requires time, honesty, and patience rather than predefined methods, categories, or strategies.