hand here?' ... 'Should I place myself on this side of the frame?' And your decisions stop being moral decisions, and they become aesthetical decisions. Putting this differently, Jaime Wolf writes that David Holzman's Diary applies what film critic Andrew Sarris described as the Heisenberg Uncertainty Principle of documentary filmmaking, namely "the inevitable effect of the presence of an observer on the behavior of the observed." For better or worse, consciously or not, overtly or subtly, people often play to the camera, behaving differently than they otherwise would. Nowhere in this film is this more overt than in David's scene with the unnamed character dubbed by some as the "Thunderbird Lady." This extended scene of a woman—a self-proclaimed nude model—sitting in her car and talking boldly and crudely to the cameraman, mostly about sex—is just too extreme for an actual unmediated encounter, even on the streets of New York. Several critics noted her exaggerated performance for the camera, as well as the fact that she also altered what was going on behind the camera during this scene. L. M. Kit Carson reports that he "choked and dummied up" and "became so unnerved" at this bizarre interview situation that Michael Wadleigh had to take over and complete the interview for him, something barely noticeable in the final film. David begins his diary by quoting Godard's famous statement that the medium of cinema is "truth twenty-four times a second." However, as Edward Copeland has observed, David does not mention that Godard's full quote ends with, "and every cut is a lie." Many writers have discussed the implications of David Holzman's Diary for truth beyond the area of documentary film—for cinema and photographic media more generally. Emanuel Levy writes that David Holzman's Diary is an example of "the impossibility of achieving complete objectivity on screen." TV Guide describes the film as, "One of cinema's most pointed statements about the impossibility of objectivity in film." Similarly, Justin Stewart calls the film "a hoaxed blast of 'reality' whose main subject is the impossibility of objective documentation." Many writers have described David Holzman's Diary as a satire of documentary films or filmmakers. For example, that the film "takes funny jabs" at the self-importance or seriousness of practitioners of the new "personal cinema." These were filmmakers who "established a new relationship with their subjects: intimate, revelatory and personal, countering a documentary tradition in which human beings were