I love not serious documentaries, too, but I love seeing people at their wits' end, I guess.
You try to do as much as you can on set because practical looks cool and practical looks great. Until you get to a point where the reality is you look at it - and I went through this in my last movie which was a war film, which my brother fought in Iraq and I did a ton of research and as much as I could made it documentary-like - and then at some point on set, the reality is somebody says to you, "You know, you can use a real squib and you can have three hours of clean up and you can lose five shots or we can do that blood explosion in post and you can get those five extra shots."
Alejandro Amenabar is a different kind of director than I lot of the directors I've asked for. He really asks you to enter his dream as opposed to, you know, a guy like Sidney Lumet or something is going to ask you to create a character almost like a documentary. He wants you to make the people really real and he's going to capture it like a documentarian.
I make films about people with disabilities as well and I think this question is more relevant in regards to these documentaries where the actual person appears on film. I know these people are proud of who they are and what they are doing with their lives.
If you merely focus on what we already know, then it's not revelatory. You may as well just go and watch a documentary or a few videos on Youtube, and you're good.
If I weren't making documentary films, I suppose I'd be teaching.
In documentary you sometimes see the tyranny of the linear, but what I've noticed in the last ten years in narrative film is the tyranny of the non-linear.
I don't think that there is any hard and fast rule that says that documentary has to be linear at all.
One thing people often forget when making a documentary is that, in a sense, you still have to cast, find a star, and it has all of those built-in challenges.
I am particularly pleased to see that there are so many women working in documentary film.
"Plaza de la Soledad" is a documentary about Carmen, Lety, Raquel and Esther, four strong women - middle-aged and older - who want to break a vicious circle that began with abuse and abandonment suffered from an early age. They simply want to have a better life. The film follows their quest to find true love and their capacity to transform themselves.
Everybody should have a documentary made about themselves. It's amazing what you see and what you learn.
There's a documentary film-maker called Werner Herzog, who's a German film-maker. I really dig his stuff, I'd love to chat with him.
I'm strictly a movie person. I mean, I watch the HBO documentaries and Netflix.
Every year, I'm depressed that so few of the documentaries I've loved break through.
Research states that we have a two-week window to act after being inspired by an experience, before the brain is compelled to move on. I have always thought that while some documentaries I have seen have educated me, they have failed to engage and drive me to act in support of the message.
Even the best documentaries reach tens of thousands in their cinematic window. I believe that by launching online, we could potentially reach millions.
I love to travel, which is sort of why I do documentaries and why I'm in this whole world of movies - you get to meet amazing people and see how other people live. It opens your eyes. That's what I love.
It's the best - combining the mediums of television, documentary, and books, to give you this transmedia experience for kids, for families, and for teachers.
I began filmmaking in high school, at the Chicago Academy for the Arts. My first documentary was about a dysfunctional obese middle-aged carpet cleaner named Bill, who lived with his Mom, and his love affair with Anna, a drug-addicted prostitute. I made that when I was 16.
After I got kicked out of CalArts, I moved to Lawrence Kansas where my sister lived. I began working on A William S. Burroughs documentary. I had no idea it would turn into such a big film.
A lot of work was done with one of my best friends and editor, Spencer Averick, who's edited everything I've ever made from the very, very first documentaries; the very, very first films I made were docs, so we learned the form together.
I mostly like documentaries, so I always think things that happened in real life are so astounding that why would you make a movie about something fake.
I'm in school every day. It depends on what it is that you do with all that free time when I'm not on the microphone. I'm reading, I'm studying. I love documentaries. I love learning what I don't know. And of course, I wouldn't suggest that particular lane for others.
That [Louisiana culture] was all very new to me. I read books and watched documentaries, just trying to immerse myself.
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