Quotes of All Topics . Occasions . Authors
I'm a documentary image maker, still and moving, because keeping the real world on the agenda is really important at a time when we're increasingly disconnected from parts of the world on whom we depend.
Right after I did 'The Fountain,' I wanted to go make a documentary or something that was less constructed - more natural. I was searching for a project, and sniffing around, 'The Wrestler' fit right in.
I was very impressed with Davis Guggenheim's 'An Inconvenient Truth.' He's inspired me as one of the newer, cutting-edge documentary filmmakers. I see those films, and I'm just instinctively drawn to them.
Stylistically, in improv, I don't think you can have as many camera tricks; I think you're kind of shooting more like a documentary: you don't know where it's going, so you have to hang back a little more.
A documentary film is a great way of helping people understand because, somehow, when one is able to see the people involved, it lends a certain immediacy and understanding that is hard to get on the page.
I have seen the Gore documentary 'An Inconvenient Truth,' just released in the States, and admired the acutely revolutionary delivery of the slideshow assisted talk he has now been giving for some 16 years.
I'm so proud of myself. I thought, 'I've got to learn about American history.' I literally took two months off and watched every documentary known to man. I really didn't know Benjamin Franklin was so cool.
I stay at home a lot by choice but go out a lot due to work. As I've grown older, the simple pleasure of sitting on the couch with someone you love and watching a documentary is about as good as it gets for me.
Bob Weir calls me a saint, but I'm 'Saint Misbehavin'.' They're making a documentary about my life, and that's the current shooting title. I can roll with that, but otherwise the s-word makes me really paranoid.
For me, the making of a documentary to mark the 70th anniversary of the Battle of Britain was an intensely personal journey. I was born in February 1940, so I was just six months old as the battle raged overhead.
I'm really excited to be a part of it and sharing the legacy, any documentary I look up at the sky and Kevin Burns did and Bryan did and showed me again you know the history that's in this character and you know.
Every time you are getting ready to make a shot in a documentary film, you are asking yourself questions about your cinematographic approach. You are approaching the truth, but the image is never the truth itself.
My mother and stepfather were documentary filmmakers and, of course, had a very healthy Scandinavian mentality. When it came to cinema, my mother was very obsessed with the French New Wave. That was her generation.
People who hate me call me a Twitter troll, which is laughable given my extensive body of work, which you can find on Amazon in the form of books like 'Gorilla Mindset' and my documentary on free speech, 'Silenced.'
Phantom Films is an established production house and it will help to spread awareness about the documentary film 'Katiyabaaz' among the audience. I saw this film and I loved it. Then we decided to support this film.
It had an enormous impact to the point of the United Nations passing a resolution against the killing and hunting of these whales as they are an endangered species. This was a documentary on the plight of the whales.
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.
My instinct was that it was Sidney's childhood in the Bahamas that gave him the fearlessness to fight racism. So this documentary was a kind of rounding out of what had begun in that scene in In the Heat of the Night.
The first documentary I saw that tried to show the actual experience of being a soldier in combat was 'The Anderson Platoon,' by French director Pierre Schoendoerffer, which won the Oscar for best documentary in 1967.
But after the TED talk went viral, I called Sara Hirsh Bordo, who had produced TEDxAustinWomen, to ask her advice. She told me she'd like to do a documentary, and that we should work together on anti-bullying efforts.
The first time I thought about attempting a body suspension was after watching a documentary on rites-of-passage ceremonies from other cultures. I was completely intrigued by what these people put their bodies through.
I've been called a spy of Israel since 1996, and since I made my documentary film in 2000 the FBI has investigated me as an agent of Iraq. The FBI has also opened up an investigation into my wife calling her a KGB spy.
I think what I love about the documentary process is that you bring yourself to the documentary. And hopefully that makes you ask good questions, and hopefully that makes you reveal a little bit about yourself as well.
The great thing about 'The Office' and it being single-camera and the documentary style is that it's mostly a comedy, but 10 percent of it is, we get to show the existential angst that exists in the American workplace.
I watched the 'Food, Inc.' documentary and was like, 'This has opened my eyes to the meat industry - maybe I should go vegetarian.' And my friend told me, 'Sadie, you're not gonna last a week.' But I'm very competitive.
It took me little more than two years to complete my film, 'Woody Allen: A Documentary.' I conducted hours of filmed interviews with Woody, who put forward no ground rules about questions I could ask, or topics to avoid.
You know, the process of making a documentary is one of discovery, and like writing a story, you follow a lead and that leads you to something else and then by the time you finish, the story is nothing like you expected.
When I do feature films, I usually have a very strong sense of what I want to do. I have topics and subjects, so I go for it. I even know technically what I want to. But in the case of documentary, the story comes to me.
Everybody was apprehensive about a documentary. When we're all dead and gone, we don't want to leave something that is not going to be representing the band in a true and honest way that shows everything that's important.
As far as the balance between being a journalist, being an artist, being a storyteller - documentary filmmakers are all three of those things. The balance between them is affected by the film itself, the topic of the film.
It's weird how people were always asking us, 'Are you real? Are you joking?' That seems like something Americans care about a lot. You can't answer the question 'Are you real?' If we're anything, we're documentary fiction.
Those are just some of the people whom we interviewed in the documentary, but that should provide you with a good sense of the credibility of the individuals who bolster the case that this administration lied us into a war.
As a documentary filmmaker, I'm very respectful, and my interview style is not intrusive. I don't really have an agenda. I just go in there, I mumble something or other, I wait for them to speak, and I wait for them to stop.
Well, it was actually - I brought the idea of doing a documentary to HBO back in 2000, when there were some press reports sort of were bandied about that there were going to TV movies based on some of the books that were out.
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.
I was at the National Film School and was a cinematographer there. I got quite a lot of experience on documentary film-making and with directors who were interesting - maybe they weren't using scripts or were using non-actors.
'Generation Food' is a collaboration between myself and author/activist Raj Patel that will tell stories about efforts around the world to try to solve the food crisis - through a documentary, a book, a website and mobile apps.
I sometimes wonder, with the Oxbridge comics, the broadcasters seem to say, at some point, now I trust you to do a documentary, you can be the voice for a maths show, or whatever. I don't think we're ever considered in that way.
'Wag' is not some kind of documentary; it's just looking at the tools that are available. Now you've got more tools - you've got social media - and just post stories through all types of back channels that can get some traction.
If you are playing someone living, it is a different type of judgment. However much work you do, it is not a documentary. There will be things you can't get right, and ultimately, you have to take a leap because - you weren't there.
When I graduated from Brown after majoring in women's studies, I made my first PBS documentary, 'Women of Substance.' My first feature documentary was called 'American Hollow,' which I did for HBO and was at the Sundance Film Festival.
I directed 24's pilot. I felt we should follow the characters around as if we were a documentary crew, using available light, hand-held cameras, split screens, sound that isn't always what it should be, to suit the reality of the premise.
I wasn't setting out to write a documentary; if I had, I would have done it in a completely different way. I was asked to write a drama that would appeal to a big audience in America that had no knowledge or interest in The Tudors at all.
I agreed to film after my rookie year in Golden State. I was more used to cameras and felt that my journey to the NBA was a story worth sharing. Little did we know how much bigger the platform and documentary would become after Linsanity.
I don't see how a woman in documentary photography could have children. I think it's a very difficult thing to do to raise a family, and I have enormous respect for people who do it. I'd hate to do something like that and not be good at it.
There are many documentary filmmakers who have a tough time because they don't really get what they need to do what they want. There are so many people with good visions that should be encouraged and helped. And they will deliver, I'm sure.
I've always been interested in how to present something that relates to our reality - which is not really... I don't even know if documentary itself does as good a job. It has its own problems in trying to get at the reality of the situation.
This is not a documentary. Are there essential truths that are captured by this movie? I think unquestionably the answer is yes. Do you have to change certain things to make it work? The book is called '13 Hours'; the movie is two hours long.
I run a fast pace on my sets, man. I like the energy of the scene to be the energy on the set. I think it affects the actors, and I think it affects the crew. There's that sensation like you're really shooting it for real, like in a documentary.
When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War.