Albert Camus imagines filming every moment of a man's life:
The result would be a film, the screening of which would last a lifetime and that could be seen only by viewers resigned to losing their life in the exclusive interest of the details of someone else’s. Even then, this unimaginable film wouldn’t be realistic—for the simple reason that the reality of a man’s life isn’t found only where he is. It’s also found in the other lives that shape his—first of all, the lives of those he loves, who would, in turn, have to be filmed; but also the lives of unknown others—powerful or downtrodden—fellow citizens, policemen, professors, invisible companions in mines and factories, diplomats and dictators, religious reformers, artists who create myths that govern our behavior—all told, humble representatives of the sovereign accidents that reign over even the most orderly existence. Thus there’s only one realistic film possible, the one that is endlessly projected for us by an invisible apparatus on the screen of the world. The only realistic artist would be God, if he exists.
The Dish 