A Quote by Elizabeth Chai Vasarhelyi

As a documentary filmmaker, 'Meru' was an irresistible challenge. You can spend years searching for the right story, but this one had all the elements: the obstacles, the characters, and the drama.
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 have major credibility as a hip, out-there documentary filmmaker, and I'm not going to say, 'I'm only a drama filmmaker' anymore.
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 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.
I'm a documentary filmmaker, I know what it means to craft a story, especially when you've shot a lot of material.
I probably wouldn't have done [ Fred Leuchter story] if it was just a story about an executioner or a holocaust denier, but the combination of the two elements was irresistible. So yeah, I find it strange that there are so many people out there now.
In drama, the characters should determine the story. In melodrama, the story determines the characters.
I live in Tuxedo Park, N.Y. and spend time in the West Village, where my wife Elizabeth Cotnoir, a writer-producer and documentary filmmaker, has an office.
In documentary films, you're a storyteller using found objects. You still have to have a story arc and all the elements that make a good story. It really helped me mature as a storyteller.
Whatever storytelling muscles you've developed as a documentary filmmaker will be extremely helpful as a narrative filmmaker.
Right after I did 'The Fountain,' I wanted to go make a documentary or something that was less constructed - more natural. I was searching for a project, and sniffing around, 'The Wrestler' fit right in
Right after I did 'The Fountain,' I wanted to go make a documentary or something that was less constructed - more natural. I was searching for a project, and sniffing around, 'The Wrestler' fit right in.
A lot of the distinctions that we make between drama and documentary are spurious. We're deeply confused about these issues. About the difference between the two, about where documentary ends and drama begins.
Before I published my first book, I worked for a while as a documentary and wedding/bar mitzvah videographer, and a part of me still mourns the lost filmmaker I'll never be. Working on a documentary is nearly the opposite artistic process to writing: as a writer you are always trying to fill out a world to fit your story, but as a documentarian your work is to carve a story out of the world. Sometimes, when I'm feeling particularly blocked at my computer, I miss the days when I could just point my camera at something interesting and wait to see what happens.
There's the instability of my attitude as an artist, the instability of our perception of the world, and the idea that with this mix, you never know exactly what's the point of view of the filmmaker. This breaks the stability of the belief that a filmmaker is somebody who has a logical relationship with his own material. These elements create this atmosphere that I find more interesting than a normal atmosphere, based only on the characters.
My [story] outlines are usually about 5-6 pages long. I'm essentially telling myself the story in short form. I try to make it clear who the major characters are, what they want, and what obstacles they face.
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