Quotes About Documentary

I was assigned a Taliban "minder" who followed me everywhere. But he couldn't follow me into homes where there were women, so I took photos inside people's homes.

In documentary, which is the only thing I'm really very familiar with, women are very easily relegated into a producer role.

I'd love to direct commercials on Caribbean beacheswith luscious women rubbing on suntan lotion, but all I get arethese documentary-type things.

In my early career as a documentarian, I suppose I was trying to make films which - where it was all about making a big cinematic statement, and I think with 'Marley,' I slightly changed my direction and adopted a more mellow approach.

I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.

My first narrative films developed out of a documentary process - finding someone who was willing to be filmed, watching, listening, taking copious notes and many hours of video footage.

The very first film, documentary that I made, was called 'The First Year.' It was 11 years ago and I followed these five novice teachers. I was actually with them on their first day of school and followed them for their first year.

I think the documentary is something that people are hungry for, that it embodies careful thought, nuance.

I don't really believe that documentary is objective reality and fiction is all illusion.

Objectivity is the purpose of documentary filmmakers.

A film based on my life would not be as interesting as my father. I have not lived a life as enriching as my father. I have only been observer to his life, so I think I'm the best person to make a documentary on him.

As a documentary filmmaker, 'Meru' was an irresistible challenge. You can spend years searching for the right story, but this one had all the elements: the obstacles, the characters, and the drama.

I am in the representational business, a portraitist. I have tried to walk an amused line amid hyperbole, documentary detail, cruel characterisation, occasional affection, some good punchlines and anthropological social insight. It's been a good living.

I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.

Valley of the Shadow of Death (1855)

Before getting into CRISPR, Zayner tried a variety of synthetic biology experiments, including on himself. To treat his gastrointestinal problems, he performed a fecal transplant (don't ask) to transform his gut's microbiome. He did the procedure in a hotel room with two filmmakers documenting the scene, and (in case you really do want to know how it works) it became a short documentary called Gut Hack that can be found online.2

The Sorrow and the Pity,

Society? Can we trust us? Doubt it. We're probably not even real, as was revealed in the popular documentary The Matrix. That bloke next door? Made of pixels. Your co-workers? Pixels. You? One pixel. One measly pixel. You haven't even got shoes, for Christ's sake.

I remember when I took Quentin Tarantino with me to a very private screening of the documentary 'Roman Polanski: Wanted and Desired ' which shows some of the legal irregularities of his case. I was involved by the film, and it was an amazing experience to see people weep at the end of it.

I did a documentary on Farrah for Lifetime. Actually, a do-over documentary, because Farrah didn't like the way she looked in the first one. And she was right.

The making of the documentary is an involving and collaborative process where you go deeper unlike in movies where you just borrow someone else's script.

With 'Street Fight,' it took an urban mayoral election and found lots of complexity in there. The same with 'Racing Dreams.' I wanted to show complexity within this world that most documentary people don't know anything about.

Documentary is thought to be art when it transcends its reference to the world, when the work can be regarded, first and foremost, as an act of self-expression on the part of the artist.

For most of my films, I've had to go out and start shooting before I could get the rest of the funding. That was the case with 'Hoop Dreams,' 'Stevie' and 'The Interrupters:' We started them quietly out of Kartemquin Films, only really going to funders once we had something to show and a firm idea of what the film might be.