A Quote by Annabelle Wallis

Most women I know are not actresses, but they work for the U.N. or are documentary filmmakers, anthropologists. — © Annabelle Wallis
Most women I know are not actresses, but they work for the U.N. or are documentary filmmakers, anthropologists.
If you're a great documentary filmmaker, it doesn't necessarily mean that you're a great narrative filmmaker. There are fantastic documentary filmmakers that can't direct actors. You don't have to do that in a documentary, if it's a real documentary.
My hat's off to documentary filmmakers. I don't know if I'm ever going back to it. You're treated like a second-class citizen at most film festivals. You take the bus while everybody else is flown first-class. If you're a feature film director, you're put in a five-star hotel, and if you're a documentary director, you stay in a Motel 6.
I think women should support each other's work, encourage each other's work, help develop each other's voices and I think, ultimately, when we can stop having the conversation about 'women filmmakers', and just talk about 'filmmakers', then we'll know we've really gotten somewhere.
I think independent filmmakers, documentary filmmakers - they are journalists.
I'm a happy person! I guess I'm not as much of a pessimist as most documentary filmmakers.
I've often thought even ragtag gatherings of documentary filmmakers are more fun than gatherings of fiction filmmakers.
The filmmakers are very much in their own kind of bubble. It was kind of a revelation to me and I realized why so many of the great filmmakers are one of a kind people. You know, they have a vision. They may be influenced by other filmmakers, but they don't work with them on anything.
I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.
While it is increasingly possible for filmmakers to find an audience on their own (something that is particularly popular amongst documentary filmmakers) I'm still a believer in the "specialist". By this I mean, I back myself as a filmmaker, but I leave the marketing and distribution of my films to the experts.
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?
When I think about filmmakers and actresses that I have admired my whole life, I've admired their entire body of work.
It seems like the world is so fast to move its interest to someone else. When I think about filmmakers and actresses that I have admired my whole life, I've admired their entire body of work. I have admired what they began with and what they're doing now. And now I feel like there's such a weird pressure to find the new face. I don't get it at all. I want to see women evolve. I want to see a body of work. I want to see all of it.
I've been encouraging documentary filmmakers to use more and more humor, and they're loath to do that because they think if it's a documentary it has to be deadly serious - it has to be like medicine that you're supposed to take. And I think it's what keeps the mass audience from going to documentaries.
As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.
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.
Objectivity is the purpose of documentary filmmakers.
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