A Quote by Gus Van Sant
I have my ideas of what a good documentary is, but drama is a different animal because you're arranging everything.
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It's weird writing for a documentary because I have all these ideas for what I want to happen, but what actually happens is obviously completely different.
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.
My photography changed from being more documentary-like to arranging things more, and that came into being partly because I started doing music videos, and I incorporated some things from the music videos into my photography again, by arranging things more.
I felt quite confident - when you come out of drama school you feel like you're on top of everything. I always tell people to go to drama school even if they've already done movies or whatever because the way you encounter content is so different.
I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.
The film [Dream of Life] came together when we started editing; it was organic, it became nonlinear and it was its own animal. And I didn't want to tame it, either. I wanted it to be different. It's not your typical documentary.
Just because you love to cook and you are good at in your home environment doesn't necessarily mean that you are cut out for competition. It is a different animal and requires you to approach cooking in a very different way.
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.
Arranging is sort of the most exciting part of making music right now for me. I really enjoy the process of arranging because you're given all the time that you need to decide on every single note.
Because 'Call The Midwife' is a gentle drama, not a documentary, it's not appropriate to portray Sister Monica Joan's condition in all its brutal reality.
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.
It's all rot that they put in the war-news about the good humour of the troops, how they are arranging dances almost before they are out of the front-line. We don't act like that because we are in a good humour: we are in a good humour because otherwise we should go to pieces.
I had a very short time on that film [The Possibilities Are Endless] and it was quite strange because the process was kind of like a documentary, which was different for me. The way everything was filmed was very casual.
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.
I did quite a lot of the arranging, fitting different sections together, tempo changes, all sorts of things like that. I actually acted as a bridge between Robert and Ian. Not so much composing, rather presenting musical ideas at each rehearsal.
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