Al Maysles handled his camera with a fluid yet forthright, light yet ardent touch—from the start, he was a sort of
Impressionist portraitist: he wanted to capture the most evanescent of
appearances, because he saw that they contained and revealed the deepest
of emotions and motives. He let his own eye and hand yield to his own
impulses and inclinations because he wasn’t, he knew, separate from the
events that he filmed or isolated from the participants whom he filmed—rather, he was inextricably connected to them both.