Iconic photographer and filmmaker Robert Frank has never gone about his work in a subtle way. Born in Switzerland in the 1920s, Frank made his way over to NYC where things really kicked off for him creatively. From his significant photography book The Americans, to his infamously banned film of The Rolling Stones on tour, Cocksucker Blues, Frank’s ethos isn’t about playing it safe.

After meeting editor Laura Israel in the late 80s the two formed an immediate creative connection and have worked closely ever since. When someone suggested Israel should put Frank in front of the camera, the duo took a bit of convincing. But, after three years of filming, Don’t Blink is the heartfelt portrayal of both a friend and a collaborator.

We caught up with the film’s director, Laura Israel, ahead of its premiere at this year’s Sensoria Festival in October.

Jane Fayle: There is such a closeness in the documentary that comes across is that how you intended it to be?
Laura Israel: I realised I had this unique perspective that not a lot of people have. Some said, “I can’t believe that you captured his sense of humour and real personality on film.” He’s somebody that when you turn the camera on is so cognisant of it and very different. I always created an activity, it wasn’t just me sticking the camera in his face.

JF: You usually work with people who are used to being in front of the camera, did it feel different documenting Robert?
LI: Yes because what Robert doesn’t like is what a lot of people are good at. People get polished but they are also very staged. You look for the real moment, almost when they’re caught off-guard and think that you’ve turned the camera off. Robert is always in one of those moments, which is why he doesn’t like cameras around. He doesn’t play up to that and in a way it was easier because he was always going to be real.

JF: He has been through a lot of family suffering over the years… Do you feel his work helped him deal with these grievances?
LI: Definitely. I hope this comes across in the film, I really do think that’s true. It’s very cathartic and I think he was able to work through a lot of emotions by putting it all in his work. That’s why when it came to him saying something about his children I used a lot of his projects. I feel that’s his inner most expression of how he felt. He’s always going to put that feeling in and I look to him for that kind of inspiration, in that he’s honest and brutal in his work with himself. If I had asked him what he thought about these horrible events I don’t think I would have got something so revealing and poignant.

JF: Frank’s energy hasn’t faltered in all his years. Do you think that’s what makes him so remarkable in the industry still to this day?
LI: I wish we’d done the film ten years ago, he used to come to my studio on his bicycle and say, “I’m going to go and look for ideas.” I didn’t have that, the driving around in the car had to supplement for that. That’s why when I found that footage where he won’t do the interview – that’s the Robert Frank I met. The one that was like, “Fuck this.” I was happy when I found that footage and I got to represent that in the film as a counterpoint because now he’s mellowed quite a bit. You ask him about somebody now and he’ll say they’re nice, when back then he’d have called them an asshole.

JF: As a filmmaker what keeps you inspired?
LI: I did this class a few years ago and it was called ‘a roll a day’. I had a wonderful teacher who said that you had to come to class having shot three rolls of film. Even if you stood by the subway and shot film and didn’t look through your camera. I think there’s a lot to be said about just doing it, whether you want to or not, and giving yourself the time. I think that helps a lot.

JF: After making a documentary on both a friend and collaborator do you feel that is a direction you would like to take again?
LI: That’s great of you to ask because the next film I want to make is going to be a narrative. I want to write a script and make it about a friend of mine, her name was Patty. It’s going to be called Pati 74-95. She lived in New York and worked at Max’s Kansas City. She never got famous but was a big inspiration to me. When I say to anyone who knows her that I’m going to make a film about her, they’re like, “Wow what a great character!” Patty was larger than life.

‘Don’t Blink’ will premiere next month at the UK’s music, film and digital festival, Sensoria. The festival is set to run from the 1st until the 8th October. Check out the schedule and get your tickets here.

Follow Jane Fayle on Twitter @Janefayle.