Quotes of All Topics . Occasions . Authors
It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.
There's some idea there, and the power of it comes from the fact that most of the time you'll never be able to answer what it is. It's just there. It's just a magic moment that you can feel in your gut that it's there, and you're willing to go there and sleep there and go through the hardship and fight for it. Once you start answering it too clearly then the magic is gone.
Every culture from the Egyptians to the Mayans to the American Indians to the Bedouins created bestiaries that enabled them to express their relationship with nature. Ashes and Snow is a 21st-century bestiary filled with species from around the world. Nature’s orchestra includes not just Homo sapiens but elephants, whales, manatees, eagles, cheetahs, orangutans, and many others.
Letter 1 To the princess of the elephants, I disappeared exactly one year ago. On that day I received a letter. It called me back to the place where my life with the elephants began Please forgive me, for the silence between us has been unbroken for one year. I will never be more of myself than in these letters. They are my maps of the bird path, and they are all that I know to be true.
All of us somehow felt that the next battleground was going to be culture. We all felt somehow that our culture had been stolen from us-by commercial forces, by advertising agencies, by TV broadcasters. It felt like we were no longer singing our songs and telling stories, and generating our culture from the bottom up, but now we were somehow being spoon-fed this commercial culture top down.
We got rich by violating one of the central tenets of economics: thou shall not sell off your capital and call it income. And yet over the past 40 years we have clear-cut the forests, fished rivers and oceans to the brink of extinction and siphoned oil from the earth as if it possessed an infinite supply. We've sold off our planet's natural capital and called it income. And now the earth, like the economy, is stripped.
The story in America was a vibrant, bottoms-up democracy subverted by corporations and financial speculators. Those people now control much of the narrative. They also control the congressmen and the legislation that's passed in Washington. So we felt that America had become a corporate state and soft regime change was necessary. That was the concept that got us excited. Then we started thinking about ways to spark it.
People look at the future and see a black hole. They look at climate change and see an ecological crisis. They look at their leaders corrupted by money and see a political crisis. They wonder if they'll ever be able to pay off their student loan or own a house. Given this ecological, political and financial crisis, what they want is a different future. Their fundamental demand is a different regime to provide that future.
People have tried all kinds of ways to fix things, like electing Obama and having a debate about decreasing the power of corporations. Then the Supreme Court gives them personhood with the Citizens United decision. You realize that no matter what you do, who you elect, how wonderful your article is, how eloquently you speak on CNN, none of it will make a difference. Ultimately, the only choice is a revolution that pulls off a soft regime change.
Above all, documentary must reflect the problems and realities of the present. It cannot regret the past; it is dangerous to prophesy the future. It can, and does, draw on the past in its use of existing heritages but it only does so to give point to a modern argument. In no sense is documentary a historical reconstruction and attempts to make it so are destined to failure. Rather it is contemporary fact and event expressed in relation to human associations.
To the documentary director the appearance of things and people is only superficial. It is the meaning behind the thing and the significance underlying the person that occupy his attention... Documentary approach to cinema differs from that of story-film not in its disregard for craftsman-ship, but in the purpose to which that craftsmanship is put. Documentary is a trade just as carpentry or pot-making. The pot-maker makes pots, and the documentarian documentaries.
There is a profound injustice at the heart of the American economy. You look at the media and realize that these corporate-run commercial entities are failing to give Americans the information they need to make informed choices. You look at the food we're eating and the obesity epidemic and realize there is something fundamentally wrong about our nutritional habits. So across the board there is something fundamentally unjust about every aspect of our personal lives.
It's often frustrating when you're a war reporter and you're covering these places that far away. You're frustrated by making stories that people can't connect to in any way. It's hard for Americans to connect to Arabic-speaking Iraqis in refugee camps or Pashto-speaking Afghans in the countryside, and having a character who is a vehicle through which you're allowed to make these relationships really allowed us to gain in an emotional weight that was difficult for us to do any other way to make it all human.
A meme (rhymes with dream) is a unit of information (a catchphrase, a concept, a tune, a notion of fashion, philosophy or politics) that leaps from brain to brain. Memes compete with one another for replication, and are passed down through a population much the same way genes pass through a species. Potent memes can change minds, alter behavior, catalyze collective mindshifts and transform cultures. Which is why meme warfare has become the geopolitical battle of our information age. Whoever has the memes has the power.
I watch mainly fiction. The films I like watching are films where you see people change, like with Boyhood. You see a moment in someone's life where it's a breakthrough. For me, the breakthrough in Boyhood is that amazing moment right at the end when he finds somebody he can feel relaxed with, and who will maybe be a friend for the rest of his life. I like that it doesn't end in a love affair or marriage. It just ends in, "Wow, I found people I can relate to for the first people in my life. These people accept me, I like them."
American culture is no longer created by the people... A free, authentic life is no longer possible in AmericaTM today. We are being manipulated in the most insidious way. Our emotions, personalities and core values are under siege from media and cultural forces too complex to decode. A continuous product message has woven itself into the very fabric of our existence. Most North Americans now live designer lives-sleep, eat, sit in car, work, shop, watch TV, sleep again. I doubt there's more than a handful of free, spontaneous minutes anywhere in that cycle. We ourselves have been branded.