A Quote by Errol Morris
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.
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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 have major credibility as a hip, out-there documentary filmmaker, and I'm not going to say, 'I'm only a drama filmmaker' anymore.
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.
Whatever storytelling muscles you've developed as a documentary filmmaker will be extremely helpful as a narrative filmmaker.
My interest in painting is recording things. I think of myself as almost a documentary filmmaker... I've gotten into some curious situations.
For a documentary filmmaker, I do very well.
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.
Documentary has been a way for me to establish myself as a filmmaker. It's my way of proving that I have a language, that I can say something through film.
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.
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.
Well I don't think of myself as like a horror or science fiction filmmaker. I just think of myself as a filmmaker.
While it is increasingly possible for filmmakers to find an audience on their own (something that is particularly popular amongst documentary filmmakers) I'm still a believer in the "specialist". By this I mean, I back myself as a filmmaker, but I leave the marketing and distribution of my films to the experts.
As a documentary filmmaker, I try to be sensitive to my subjects.
When you say documentary, you have to have a sophisticated ear to receive that word. It should be documentary style, because documentary is police photography of a scene and a murder ... that's a real document. You see, art is really useless, and a document has use. And therefore, art is never a document, but it can adopt that style. I do it. I'm called a documentary photographer. But that presupposes a quite subtle knowledge of this distinction.
The main reason why I'm a documentary filmmaker is the power of the medium. The most powerful films I've seen have been documentaries. Of course, there are some narrative films that I could never forget, but there are more documentaries that have had that impact on me.
For me, as a documentary filmmaker, I'm interested in telling stories of real people whose experiences tell us something about ourselves or our history, or who we are and our potential.
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