I live in New York City, and I'm making huge action movies. The people that make huge action movies live in L.A., and they're surrounded by other people who make huge action movies. I'm surrounded by people making documentaries!
There is a documentary element in my films, a very strong documentary element, but by documentary element, I mean an element that's out of control, that's not controlled by me. And that element is the words, the language that people use, what they say in an interview. They're not written, not rehearsed. It's spontaneous, extemporaneous material. People
The dismal half-baked images of the average "reportage" and "documentary" photography are self dammning... the slick manner, the slightly obscure significance, the esoteric fear of simple beauty for its own sake - I am deeply concerned with these manifestations of decay. Gene Smith's work validates my most vigorous convictions that if the documentary photographs is to be truly effective it must contain elements of art, intensity, fine craft and spirituality. All these his work contains and we may turn to his work with gratitude, appreciation and great respect.
I never intended to be a documentary filmmaker. I think I became a documentary filmmaker because I had trouble writing, and I had trouble finishing things.
I hate those earnest TV documentaries that are the world according to people with glasses who know better than you.
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 don`t know the facts surrounding Andrew Jarecki`s work. I think it`s a triumph of television. But it does raise troubling issues that I think we as a documentary community, you know, need to address.
A lot of the distinctions that we make between drama and documentary are spurious. We're deeply confused about these issues. About the difference between the two, about where documentary ends and drama begins.
Whenever I'm making a feature film, I wish I were filming a documentary, because making feature films is so stressful. It happens every time.
Unlike a lot of British directors, I hadn't done any theater. But, I had a great mentor who said, "What you're looking for is exactly the same thing you've done in your documentaries, which is moments of emotional truth.
The biggest misconception is that I'm only a documentary filmmaker, but in fact I have made many narrative shorts. My biggest inspirations are narrative films, and that's ultimately where I see myself going next.
People outside the documentary world don't realize how time-consuming making a documentary film is there is a lot of responsibility, and in order to make something good you need time.
I like to turn on the TV and watch whatever's on. Nick Kroll does that a lot. He doesn't watch important shows. He'll just turn on a documentary on Mia Hamm and watch it for an hour. Whatever's on, we watch.
The camera cannot leave the man, but the man can leave the camera. It's in the style of documentary where you make an agreement between a camera and a man and say, "I'm going to film you now."
Fantasy is hard to do when it comes to making it look good compared to something that's a documentary or hyper-realism.
I certainly don't believe you documentary filmmakers. Like me, you are involved in making fiction, and your fiction is just as well organized and just as well predicated, but the big difference between me and you is that I'm honest and you're dishonest. I know I'm telling you lies.
The pictures that were coming from Vietnam were showing us what was really happening on the ground level. It was in contradiction to what our political and military leaders were telling us. They were straight forward documentary images. A powerful indictment of the war, of how cruel and unjust it was. When I finally decided what to do with my life, it was to follow in that tradition.
Documentaries are unpredictable. You never know what will turn up, and the drama occurs in real time. But if you listen to people, a narrative always emerges.
The reason I don't want to say anything about it is it has a strange power to take over the conversation. Just like it's doing with us. I was asked to participate in a documentary about Richard Prince, and be the voice of someone who was appropriated, and I declined. The reason I did is I don't want it to be the subject of the discussion of my work.
Back in 2007, I met this white guy [director Peter Byck] with a lot of hair and a video camera, at a conference that I happened to be attending for the launch of an organization called Blacks in Green. I had never heard of him and Peter had never heard of me. We just started talking; he liked what I had to say, so he asked me if I'd be willing to be in this documentary he was doing about carbon pollution. I said, "Sure!" It was kind of a no-brainer.
There's always the question when you're making a documentary if the talking heads will work.
One of the most recent things we did [in Perceval Press] is a reissue of a fantastic documentary about Russian prison tattoo culture by Alix Lambert called The Mark of Cain. We've done books from Twilight of Empire, that actually has forewords by Howard Zinn and Dennis Kucinich and others, to books of poetry, photography, painting - all kinds of books.
My wife made me watch this documentary about the Iraq War, and there was a really powerful moment where they followed some civilian whose family had been killed. This was 5 or 10 minutes of this woman talking, and it was extremely arresting. You realize how you never hear from the person on the receiving end of a war without a reporter stepping in to compartmentalize the story. Usually they're just a few shots at the end of a news report, wailing and screaming at a funeral.
There is a document in every novel in the world. Even in the most fantastic novel, even in science fiction, there is a documentary side. But, this side is not the crux of the matter.
I don't think a novel's main donation, main gift, is the document. The document is there, but a novel goes beyond documentation. It goes into opening a new vista, opening a new perspective, showing familiar things in an unfamiliar way, and making the reader reconsider the documentary facts which he or she may have known before.
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