A Quote by Dana Spiotta

Even a documentary portrait of a person that tries to be very accurate is shaped by the filmmaker in so many ways. — © Dana Spiotta
Even a documentary portrait of a person that tries to be very accurate is shaped by the filmmaker in so many ways.
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.
I like the idea of the documentary as a portrait. There's not a chronological beginning, middle, and end structure. You build something in the editing room that's shaped by getting to know the person and digging deeper, unpeeling the layers of them as you get to know them.
I've never seen myself as a documentary filmmaker. I see myself as a filmmaker, period, and I am interested in drama as well as in documentary.
I never intended to be a documentary filmmaker. I think I became a documentary filmmaker because I had trouble writing, and I had trouble finishing things.
For a documentary filmmaker, I do very well.
It's a fairly accurate portrait of me at eighteen, minus a few quirks like reckless driving and eating binges. It's accurate but it isn't profound.
Whatever storytelling muscles you've developed as a documentary filmmaker will be extremely helpful as a narrative filmmaker.
I have major credibility as a hip, out-there documentary filmmaker, and I'm not going to say, 'I'm only a drama filmmaker' anymore.
By the time I finished 'Poison,' the New Queer Cinema was branded, and I was associated with this. In many ways, it formed me as a filmmaker, like as a feature filmmaker I never set out to be.
In many of my books, I explore the ways in which grandparents or other older persons are shaped by the young, and the young are shaped by the old, in an evolving dance.
The portrait of a person is one of the most difficult things to do. It means you must almost bring the presence of that person photographed to other people in such a way that they don't have to know that person personally, but that they are still confronted with a human being that they won't forget. That's a portrait.
Now documentary evidence is acceptable. What does that mean? If you have documentary evidence that a person served as a guard in one of the death camps and the documents have been authenticated, that is grounds to charge the person with crimes against humanity. And that's why you see the spate of trials previously, for example, in the '70s and the '80s, even in the low '90s. That was not the case until the change in the law.
Since I come from documentary background and my father is a documentary filmmaker, for me the core essence of cinema is it's social statement. It is somewhat similar to the work of a journalist, just on a different level. This is the kind of cinema I enjoy.
Shakespeare is in many ways an African writer and 'Hamlet' would be seen as a very accurate historical saga about an African kingdom.
An actress reading a part for the first time tries many ways to say the same line before she settles into the one she believes suits the character and situation best. There's an aspect of the rehearsing actress about the girl on the verge of her teens. Playfully, she is starting to try out ways to be a grown-up person.
This is a lesson about life: This is one person. This is another person. This is one person trying to understand another person, even though it doesn't have room to download the other person into it's brain. It cannot understand the other person, even though it tries to. So he ends up overflowing with knowledge.
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