A Quote by Haile Gerima

I'm organizing documentary films, and whenever scriptwriting gets too tedious I go to my editing room and start to edit the documentary, even if I don't have the full funding yet. So you have to keep yourself busy, you have to like the subject matter.
Films are always a fiction, not documentary. Even a documentary is a kind of fiction.
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.
The key fact missed most often by social scientists utilizing documentary films for data, is this: documentary films are not found or reported things; they're made things.
There is a documentary element in my films, a very strong documentary element, but by documentary element, I mean an element that's out of control, that's not controlled by me. And that element is the words, the language that people use, what they say in an interview. They're not written, not rehearsed. It's spontaneous, extemporaneous material. People
Feature filmmaking is a different kind of complication as documentary comes in the editing room.
You kind of form a bond with your subjects, in a way. You're in it together. To a degree that people don't realize, documentary films - or at least the kind of documentary films I'm interested in - are a collaborative undertaking with the subjects.
Of course, when you're making a documentary, you don't have actors, but nonetheless, there is a writing process that does take place in the editing room.
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.
Teaching regularly has made me an even more adept reader, I think. The kind of teaching I do is more like editing than anything else. The kind of editing book editors used to do before lunch. The kind of editing I used to do as a radio documentary maker.
It's difficult to make movies. For me it was easier, as a refugee in Switzerland, to make documentary films, because I didn't need a lot of money for it. The way I tell my story or my opinion would be very similar in both fiction and documentary forms. But I found I could speak more effectively to convey this brutal reality through documentary than I could through fiction.
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'm a huge fan of the Ken Burns documentary style, big time. I love documentaries full stop. I'm a big documentary fan. That's my reality. I don't like reality TV. I like it like that.
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.
You have to be dynamic. You have to be able to change. So a lot of times we'll go to a country or go meet people, and then while we're there, the story changes and you have to be able to go with that. And then the story comes out in the editing room, which is a very documentary sort of process - not how news works. So that's different.
In 2008, A.J. Schnack recruited Thom Powers to start the Cinema Eye Honors to recognize the artistry and craft that go into making documentary films.
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