A Quote by Gareth Edwards

In a drama, the camera doesn't exist. In a documentary, it does. — © Gareth Edwards
In a drama, the camera doesn't exist. In a documentary, it does.
Look at the genres women like: a romantic comedy game doesn't exist. Few examples of a documentary game exist. What is the equivalent of a real drama game? They don't exist. Emotion with that complexity for a more mature, older audience are necessary to make medium-like video games healthy so it can be highly respected like the film industry.
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.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
When you're making a real documentary, you shoot it and the movie happens. You don't make - this sounds corny - you don't make a documentary, a documentary makes you. It really does.
The camera cannot leave the man, but the man can leave the camera. It's in the style of documentary where you make an agreement between a camera and a man and say, "I'm going to film you now."
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 began to feel that the drama of the truth that is in the moment and in the past is richer and more interesting than the drama of Hollywood movies. So I began looking at documentary films.
I came through the ranks of the BBC documentary department. I was lucky working during this drama doc era, where they did reconstructions, basically like cheap drama made by the factual department.
Both those taking snaps and documentary photographers... have not understood information. What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being.
The camera course was a bit crap. But when I was in drama school, I wasn't interested. I wanted to be a stage actress. I was not interested in learning camera craft. But then you throw yourself in the deep end when you do get a job in front of the camera because you have absolutely no idea what you're doing, and it is a skill.
I love the luxury of the camera. The camera does so much for you. I like the secrets a camera can tell.
There's nothing sillier than fake rough edges, like the handheld camera you sometimes see on "NYPD Blue," shaking and jittering around, unmotivated, way more than any actual documentary camera would.
I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.
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.
Above all, documentary must reflect the problems and realities of the present. It cannot regret the past; it is dangerous to prophesy the future. It can, and does, draw on the past in its use of existing heritages but it only does so to give point to a modern argument. In no sense is documentary a historical reconstruction and attempts to make it so are destined to failure. Rather it is contemporary fact and event expressed in relation to human associations.
With documentary, you just pick up a camera and start.
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