A Quote by Alex Gibney

I come from a filmmaking tradition and a storytelling background. So somehow I've emerged like a mutant who can straddle both worlds. — © Alex Gibney
I come from a filmmaking tradition and a storytelling background. So somehow I've emerged like a mutant who can straddle both worlds.
I like narrative storytelling as being part of a tradition, a folk tradition.
When you come from a background like mine, where you're entering worlds that are so different than your own, you have to be afraid.
She has her own glamour, Willy lad. All poets do, all the bards and artists, all the musicians who truly take the music into their own hearts. They all straddle the border of Faerie, and they see into both worlds. Not dependably into either, perhaps, but that uncertainty keeps them honest and at a distance.
I went to a middle-class school, but my background is working class. I got the best of both worlds, I saw both classes, so I have a pretty fair idea of how people live and why they do it.
Are you some kind of mutant human? Like a fire user? And I use mutant as a compliment, you know. I wouldn’t think less of you.
Filmmaking is a very complex form - ya know, acting, lighting, screenwriting, storytelling, music, editing - all these things have to come together.
Peptic ulcers became more common in the 20th century at the same time that these theories of Freud and other psychoanalysts became popular. And somehow those meshed, and this tradition emerged that ulcers were caused by stress or turmoil in one's life.
That somehow dreams are a blurred line between here and there, like a meeting room in a prison. You’re both in the same room, yet on different sides and really, in different worlds.
I come from athletics and I have a pretty big boxing background, so I never really shy away or get nervous about the physical rigors of filmmaking.
Here's the thing: I come from a filmmaking background, so this concept of sort of overseeing a television show but not directing was, in general, not weird, but I had to get used to what that felt like. My initial instinct was, 'I want to direct as much of this as possible.' But the logistics of making of TV, that's just not possible.
I have a music-video background, and I feel like the responsibility of a music-video director is to do something that hasn't been done before in a really cool visual way. So much innovation has come in filmmaking through music videos.
I may love individual people, but I am contemptuous of the arrogance , and in a way, it's both ruined me and fuels me. It's ruined me because nobody cares about these issues, and then it's the source of most of my storytelling now, because I am so preoccupied with it. It fuels me, because this is my outrage. I do believe in that great tradition of literature and storytelling. You know, the downfall and the folly of it all.
There are different worlds, endless worlds, and different beings come from different worlds. In my particular case, I come from the stillness. We call it the dharmakaya, the clear light of reality. I know it quite well.
I often find myself feeling that filming music is somehow the purest form of filmmaking. This crazed collision of sound and images, the intense collaboration, these incredibly cinematic performances. And for the nights you're filming, a non-player like me gets to feel somehow part of the band.
I felt it was a privilege that I came from such a rich background. I had the best of both worlds. My mother was a Shia Muslim, while my father was a janoi-clad man. He never pretended to be secular.
Documentary filmmaking has all the challenges and hardships of narrative filmmaking without any of the infrastructure or support. That's both a blessing and a curse.
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