Quotes of All Topics . Occasions . Authors
I've never seen myself as a documentary filmmaker. I see myself as a filmmaker, period, and I am interested in drama as well as in documentary.
I'd love to direct commercials on Caribbean beacheswith luscious women rubbing on suntan lotion, but all I get arethese documentary-type things.
I like a lot of documentaries, I like political movies and political thrillers. But I also like a good action movie. I like a pretty wide range.
I don't have a horror film in me just because I don't like to be scared. But I definitely have a documentary in me, and I certainly have dramas.
I think documentary filmmakers need as much protection as possible under journalist's privilege. How else is the public to know what is going on?
I've always intended to eventually make films. I've always been very aware of tone and shots. But documentaries are a great proving ground for me.
I don't normally make documentaries. I'm a drama director. I've made a few short docs, but I don't like talking heads or 'voice of God' narrators.
You see reality TV and it's not reality TV. It's contrived and everything is plotted and scripted nearly. Documentaries are the same and just as bad.
As much as I like Michael Moore - and I'm on the same political side as him - I think his documentaries are really a batch of manipulations and lies.
I always want to do real roles. When my father used to go to Dilip Kuamr's house, he used to show minute details of acting. I watch documentaries too.
Even the best documentaries reach tens of thousands in their cinematic window. I believe that by launching online, we could potentially reach millions.
If we have anything to offer, as filmmakers and as TV makers now, it's this ability to feel as close to a documentary as you can get in a narrative form.
I watched this documentary on Madonna. I remember I grew up hearing she wanted to rule the world. Actually, she worked really hard - really, really hard.
I coauthored my first nonfiction book by the time I was 25. I have been involved in nonfiction documentaries, newspapers, TV and internet since that time.
It's hard to make a living doing documentaries. Frankly, if it takes you five years to do a film, and that's the only film you're doing, you're in trouble.
I came from the school of cinema verite documentaries, which was: Do not manipulate reality as it was happening but create a narrative in the editing room.
I learned how to make a documentary by having a good team around me. My editors (and co-writers)Bent-Jorgen Perlmutt and Frédéric Tcheng were very helpful.
When I was 16, I made some little 35mm documentaries about the poor in London. I went round Notting Hill, which was a real slum in the 1950s, shooting film.
A lot of preparation was needed to play the character of Omar Sheikh in Omerta. I watched a lot of documentaries and hate speeches to cultivate anger in me.
I think pulling off, pulling off a kind of fake documentary of me being a, you know, actual dictator would have been extremely difficult, if not impossible.
Actually, documentary pictures include every subject in the world - good, bad, indifferent. I have yet to see a fine photograph which is not a good document.
Virtual reality is the 'ultimate empathy machine.' These experiences are more than documentaries. They're opportunities to walk a mile in someone else's shoes.
I make a rod for my own back because people see my novels as quasi documentaries. But it is never history that's the main event of my books. It's my characters.
I don't like docudramas. Documentaries should not go together with fiction, or half-fiction or quarter-fiction. The two should not go together. They cannot mix.
I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens.
I was painting sets, working in editorial as an assistant, driving their trucks, lying that I knew how to drive a truck, and doing commercials and documentaries.
I became a documentary filmmaker because I wanted to make socially conscious films. I never studied filmmaking - everything I have learned has been on the field.
When you make documentaries or short films, you have to have eyes and ears in the back of your head and on the sides and all around you. I like that in my films.
You can only shoot small movies and documentaries for so long if you want to have a family that you support; eventually, you need to get let into the big leagues.
Well, I’ve been in several films including documentaries, but the big blockbuster, I was hired as advisor to the actors, I was trying to make Jesuits out of them.
Well, I've been in several films including documentaries, but the big blockbuster, I was hired as advisor to the actors, I was trying to make Jesuits out of them.
When I left 'American Morning' in 2007, I'd focused on doing documentaries. But I thought 'Starting Point' was a great opportunity to be involved in the zeitgeist.
In documentaries, the process is that you film a lot of things, and out of what you've shot, something organically reveals itself, and there's a discovery process.
I've studied live shows and artists for so long. I got the tour documentaries and all that and watched them. I love a show. I love an artist that can do all of it.
I never wanted to be a film director but after this experience I really loved it. I would love to do more documentaries but it's difficult to find backing for them.
I'm cooking and taking the lockdown as an experience in cooking, trying different things. Apart from that it has been listeniing to music and watching documentaries.
I was painting sets, working in editorial as an assistant, driving their trucks... lying that I knew how to drive a truck... and doing commercials and documentaries.
I wanted to resist in 'The Look of Silence' making a film that ends with any kind of positive hope I feel in human rights documentaries dealing with human survivors.
When I'm making documentaries, I think a lot about how fiction films play. I want them to have the pacing, the twists and the character development of fiction films.
You're making a movie, not a documentary. If you made a film like the historians would like you to make, you're not going to go and see it. I'd rather see paint dry.
I've always done live art history lectures and small documentaries in the past in Australia, on Australian art and art galleries, so I've already done a lot of that.
Documentaries for me always felt kind of limiting. I wanted to go bigger. And I also love actors, and I love performance. So feature filmmaking was always the intent.
In some ways, making documentaries is like being a journalist. You interview people and then use the bits you want to use as opposed to the bits they want you to use.
I feel that cinema can't change society or bring a revolution. I'm also not sure of cinema as a medium of education. Documentaries can be educative, not feature films.
When I made the switch from strictly entertainment news to more of these natural world documentaries, it's really been all about wanting to make saving the world cool.
I'm not your expert on Africa or animals or whatever. I'm not a travel writer or maker of documentaries. I was someone who doesn't know very much, trying to communicate.
Well it has been very exciting and very changing as well. Celebrating the 40th year and having the album out and the Channel 4 documentary and I resigned from Blind Date.
That's why I have always admired documentaries, because they open windows that can make you understand much better where you come from, much better than fiction, I think.
A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.
In documentaries, there's a truth that unfolds unnaturally, and you get to chronicle it. In narratives, you have to create the situations so that the truth will come out.