A Quote by Adrian Grenier

In narrative films, you set up reality, so you can limit the variables. You don't have that luxury with docs. — © Adrian Grenier
In narrative films, you set up reality, so you can limit the variables. You don't have that luxury with docs.
The aim of the book is to set a limit to thought, or rather - not to thought, but to the expression of thoughts: for in order to be able to set a limit to thought, we should have to find both sides of the limit thinkable (i.e. we should have to be able to think what cannot be thought). It will therefore only be in language that the limit can be set, and what lies on the other side of the limit will simply be nonsense.
Docs, in general, are made in the edit bay, archival docs even more so.
Some god or Weltgeist has been making a movie out of us for the past six thousand years, and now we have turned a corner on the movie set of reality and have discovered the boards propping up the two-dimensional monuments of human history. The movement of humanism has reached its limit, and now at that limit it is breaking apart into the opposites of mechanism and mysticism and moving along the circumference of a vast new sphere of posthuman thought.
With docs, there's often a very direct communication between the filmmaker and the audience. With narrative movies, we leave it a little bit more open.
It turns up the heat under a narrative when you limit the characters in their movements or their freedoms.
The advantage, the luxury, as well as the torment and responsibility of the novelist, is that there is no limit to what he may attempt as an executant - no limit to his possible experiments, efforts, discoveries, successes.
Let's say the docs present a simplified view of reality.
The enigma of cinema is gone because of the focus on business. As soon as you attach numbers to a film, you limit it. Films are meant to be an escape from reality.
Your belief systems limit your reality to a sub-set of the solution space that does not contain the answer.
It's really a great luxury to have, to be able to go from big films to indie films, too. Because I'm on the job learning as an actor, and independent films is where I'm learning to act.
Every one's got it in him, if he'll only make up his mind and stick at it. None of us is born with a stop-valve on his powers or with a set limit to his capacities, There's no limit possible to the expansion of each one of us.
One of the most consistent findings about low performing schools and students is that "home variables" (parental income and education, etc.) are more predictive than "school variables." But, having said that, we as a society can have much more effect on the school variables than on the home variables, so it's important and valuable to focus on the question of which interventions in schools are most effective and which are least effective.
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.
One of my principal concerns is the contradiction between appearance and reality - illusion and reality. I try to set up an expectation of sorts and then contradict it.
I have the luxury of getting up quite late, so I hardly ever set an alarm clock.
One set at extreme intensity does the muscle-building job. It must be stressed that the one final, all-out set I do takes me to the very limit of my capabilities. If you feel you can attempt a second set, then you couldn’t have been pulling out all the stops during the first set. It's not pretty, but it works.
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