If I were to film someone I didn't like

I would probably produce a good art work. I think this is close to unarguable. That isn't to say that the footage of Alex and Sean, who I both like, hasn't translated into good art - on the contrary, the finished videos are some of my best, most developed work, in no small part to the amount of time I put into filming and editing them. But it seems as if I wouldn't even have to try if I were to film someone who pissed me off, my subconscious would take over many of the technical aspects of filming and give my conscious time to ruminate on the undesirable characteristics of his or her character.

How I would come across someone I don't like who would also let me film them is where this idea loses footing. I know very few people I dislike, and fewer still I would be willing to approach creatively. Instead, the ideal method of finding someone who fits this profile seems to be approaching someone through another subject who I don't know and grow to dislike them while filming them. But then it becomes roulette - I may well find nothing to complain about in the unknown subject, and so will then be indebted to editing their footage respectfully in post-production. And respect is a very unforgiving commitment to make while making films about people. I tell myself that I have only followed them with the camera as they have moved, left it on them as they stand or sit, and zoomed to emphasise a detail they have drawn attention to, and this is entirely truthful.

And, to continue being truthful, I wouldn't be able to change this approach without changing the stated aim of the project. But does the subject determining the content mean that their actions determine the meaning of the film, or do their actions cause a reaction from me and that determines the course of the film? I haven't yet been able to answer this, and I don't want to create an artwork in fear of - fear. I make artwork, often, as an answer to fear, a way of understanding it and avoiding it. Not to immerse myself in it, using it as an appliance. That drains creativity, and for that reason it is perhaps very easily explanable why many artists favour a peripheral vantage point over confrontation.