A Quote by Debra Granik

My first narrative films developed out of a documentary process - finding someone who was willing to be filmed, watching, listening, taking copious notes and many hours of video footage.
I love archival films very much. I spent thousands of hours watching archive footage. Every time I see it, I see something. Sometimes I think I know this footage, but two years later, I see it again, and I see something new.
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.
I'm not sure that I could give notes to someone that I revere. That's a general challenge of directing, giving notes to someone you revere. The other big contribution to this, which most people I show footage to take note of is Mauro Fiore's cinematography is unbelievable.
One of the great things about The Umbrella Academy' and its TV version is that there are 10 hours of footage, so characters are a lot more fleshed out and further developed.
There are many benefits to this process of listening. The first is that good listeners are created as people feel listened to. Listening is a reciprocal process - we become more attentive to others if they have attended to us.
The nice thing about a documentary, I think, is that so much of it is editing, too. You sort of get to keep making decisions. It's not as much like when you do a narrative, fictional piece, and you have a certain number of shooting days, and you're like, "Well, that's what it is." You can continue to seek out more photographs or try to find more footage. The genre gives you the ability to keep working on it, which is great for a first-time director.
I can't tell at what age I developed this love towards movies, but I've always enjoyed watching films. I've grown up watching the films of my uncles Chiranjeevi and Pawan Kalyan.
I win and succeed only 'cause I fail so much. I fail all the time. I wrote 70 songs just to have 12 good ones. For the video I shot 60 hours of footage. 60 hours! To come up with an 8 minute video. So really I only win 'cause I fail.
I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.
The best films of any kind, narrative or documentary, provoke questions.
If there was a dream match I could do, it would definitely be in a match against Curt Hennig. I think, growing watching him, I have hours and hours and hours of footage of 'Mr. Perfect' Curt Hennig and just studied his stuff for years.
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.
It's funny; before I started writing professionally, I had a job logging video footage for behind-the-scenes footage for special features.
I've been watching a whole heap of video footage of different players on different teams and how different players get the football. But the best way I learn is getting out there and playing.
Whatever storytelling muscles you've developed as a documentary filmmaker will be extremely helpful as a narrative filmmaker.
As a kid, I was always listening to music. I would just go in to my room and put on an album, read the lyrics, and just spend hours and hours in there. Plus, my sister Laurie played piano (in fact she taught me my first few notes) so music was always around one way or another.
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