Fiddler's Journey director on honoring a cinematic landmark | Digital Trends

In 1971, the film version of Fiddler on the Roof was released to widespread acclaim and box office success, becoming the top-grossing movie that year. In the 50 years since its premiere, the film is regularly screened yet not discussed as some of its cinematic brethren like The French Connection or A Clockwork Orange, both of which were released the same year as Fiddler.

About a quarter of that documentary explores Bob Boyle and Norman Jewison’s long process of researching and finding the locations in Eastern Europe, a fitting location in Eastern Europe to film Fiddler on the Roof. So my fascination with Fiddler started back in 2000 when I made that documentary and met Norman Jewison. I was curious to learn more about his process.

Yes. It was easy because I already had a relationship with him. We kept in touch after The Man on Lincoln’s Nose. What I learned in making this documentary is that everyone I interviewed about making that movie has a special place in their heart, including John Williams, for him and the film. For John to carve out his time to just talk about Fiddler on the Roof, I learned quickly just how special that movie was to him.

What I’m curious about is the artist, not just the work. The work itself is a pretext, a way to shine a light on these artists. And then there’s the other side of it, which is the documentary as a portrait of Norman. At the start of lockdown in 2020, I sat down and focused on editing all the great footage I had of him. It was a real challenge for me and my team to peel the onion and find out what was inside Norman.

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