I remember somebody saying something to me about Frost/Nixon, when Anthony Hopkins does his famous speech, and the difference in the way Anthony did it was to dramatize, essentially, what was a documentary-style version of that speech. I remember someone saying to me, "There is artistic liberty."
There is a wonderful documentary called 'A Room to Breathe,' where a school brought in a TM instructor, to try and establish a better classroom environment, and the results and transformations were profound. It's impossible to ignore, and we make some passing references in my film, but 'A Room to Breathe' is a closer look at just how powerful meditation can be.
I'll let the record [Who You Selling For] speak for itself. I don't want to get too in-depth with my personal opinions of it and where the songs came from because I think it messes with the listener to know the inside mindset of the writer. For example, I watched a Pink Floyd documentary the other day, and I learned that "Shine on You Crazy Diamond" was about [frontman] Syd Barrett. I didn't want to know that!
The ruins of classic movie theaters are a personal obsession of mine, and I've made a couple of documentaries about it.
I've always read a lot of historical books and I'm a big fan of documentaries, and I've always thought of ways to do it.
Stay humble to the craft and never forget how much it actually takes to be the main character of a documentary.
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.
I spent a year and a half working for an art fair. I worked as a post-production assistant for a documentary film company for a while. Then I worked at the Apple store because I wanted a discount to be able to buy new gear to edit things while I was figuring out whether or not I wanted to go to film school. Those were the main things.
It's not exactly an interview that's going on [in documentary]. I guess we do ask Edward Snowden some questions and we're recording him answering them and so on like that.
I wasn't terribly familiar. I had read some of the headlines but didn't quite understand difference between WikiLeaks...[Edward] Snowden. And then watching the documentary, working on the film, you got to see his personal journey through this and sort of understand more about what he went through.
Interestingly enough, I feel what the show [OJ Simpson] was able to accomplish in a really masterful way is that White America could look back on the show and the documentary and say, "We understand why Black people were effusive at the acquittal of O.J. Simpson."
Exposing something that's painful or raw or not so pleasant. That seems to be the dramatic motor of documentaries, exposure.
In some ways, the documentary form is a kind of trap and so is societal norms.
I'm driving down the freeway the other day, on my way to Knott's Scary Farm probably, and I hear this report on NPR that the whole lemmings thing was faked in the 1950s. They were shooting a wildlife documentary in the '50s, they found a group of lemmings, and the crew chased them all off a cliff. No lemming has ever jumped off a cliff, purposefully, ever. Isn't that unbelievable?
I've always slightly harboured a dream of making a film, a documentary feature. Somehow I just got into a way of working a routine of making TV docs. It's not as though you do that enough and then graduate - you sort of need to make a conscious decision to work in a different way.
I haven't been manipulated. I did a documentary in prison years ago because I was so f - ed off with those lazy bastards in their bed for 18 hours a day, five dishes a day on a menu to choose from, playing soccer every day, going to the gym, watching movies.
I think when I envisioned my documentaries, what I wanted to do when I left, I had no business doing those documentaries. I didn't know what I was doing. I was delving into an arena that I had no experience in, and Netflix paired me up with two documentarians that really executed my vision perfectly. That was great, to see that. All of a sudden I'm at Sundance, and those are premiering. I just thought, "Wow, they were four ideas I pitched one day, and now it's coming to fruition on this scale."
Many people, including myself, thought of Jobs as an inventor, an Edison-like figure, but he wasn't. I did a documentary on James Brown recently; and, oddly, I found a lot in common between Jobs and Brown. Jobs was also a fantastic performer, put on an extraordinary live show at his product launches, but he could also be ruthless, cruel and totally self-aggrandizing. And just as Brown surrounded himself with the very best musicians, Jobs understood the importance of hiring the absolutely most talented people and knew how crucial they were to the success of what he was trying to do.
I think most albums deserve a documentary because [an album] is a visual book. You don't have to read up on it because you can listen and watch the whole story. I would love to see lots of albums [become films.]
Twenty to thirty years ago, who was making documentary films? Nobody. Well, relatively few people. It was an art form that had limited theatrical distribution, if any at all. Some television distribution, but relatively small audiences regardless. And in the intervening years it's become more and more popular with a lot of people.
There's a line I love in Conan The Barbarian where someone says, "That used to be another snake cult, now I see it everywhere." That's certainly true of documentaries. I wouldn't say it's ubiquitous, but it's become close to ubiquitous. It's everywhere.
Maybe today I would call Fred Leuchter and there would be two or three other documentary filmmakers interested in his story simply because of the exposure.
If you told me thirty years ago that people would be parodying documentary films, I never would have believed it. It wasn't clear that the films themselves even had an audience, let alone an audience for parodies of them.
For me, as a documentary filmmaker, I'm interested in telling stories of real people whose experiences tell us something about ourselves or our history, or who we are and our potential.
The film [Payback: Debt and the Shadow Side of Wealth] opens with an Albanian blood feud and goes on to delve into, for instance, prison systems, underpaid tomato pickers, the gulf oil spill. It's all woven together in a sensuous, oblique way that's not the same as the single-message kind of documentary we're used to, with an "answer" at the end. It's more like an exploration. Sort of like what you do with Birth of a Nation.
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