A Quote by James Marsh
I've always worked very efficiently on small budgets, both in documentaries and in features.
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A lot of people just ask me about how I can do small budgets and big budgets, but many actors do both. I think the more self-destructive impulse I have is doing so many different characters.
I try to learn from both, from features and documentaries. In both cases you have to find a way to make the camera as discreet as possible, and flexible enough to be able to capture the moment when it happens. I know from documentary how to not have a preconceived idea of what the scene could be.
Possibly the only genre that efficiently converted from TV to YouTube / Vine is sketch comedy, which has always had more to do with the skills of its creators than its budgets.
When I first started, I saw myself shooting documentaries or making documentaries, which is what I did, mostly, for a number of years. So it was quite a surprise how I found myself shooting features. It was like my wildest dreams as a kid collided.
There's always going to be a fight between mainstream and underground because the mainstream is a very small bubble, and the underground scene is a very small bubble, and they both see themselves as secret societies. But I never saw it that way. I always thought music was open to all things.
My documentaries have always been very much constructed in the spirit of dominant cinema. From the time I started making non-fiction, I was mainly interested in designing and creating documentaries like fiction, so it was a natural evolution to try and embark on doing a dramatic narrative.
As far as documentaries go, I believe unreservedly that they serve an important function in our culture. I'd love to be able to make both documentaries and feature films simultaneously, but so far that hasn't happened.
There's always going to be a fight between mainstream and underground because the mainstream is a very small bubble, and the underground scene is a very small bubble, and they both see themselves as secret societies.
I started in documentaries. I started alone with a camera. Alone. Totally alone. Shooting, editing short documentaries for a French-Canadian part of CBC. So to deal with the camera alone, to approach reality alone, meant so much. I made a few dozen small documentaries, and that was the birth of a way to approach reality with a camera.
The luxury that I have is I'm not career-minded, I just live from one film to the next. For a time, I was making documentaries, and all my documentaries were winning awards and stuff, and then I lost interest in documentaries.
Well the Global Fund, because of how well it's worked on not only AIDS, but also malaria and tuberculosis, I'd say it's well accepted. I mean, it's not politically controversial that this is a great humanitarian effort. But budgets are very very tight.
I think I did fifteen long features and fifteen documentaries, or something like this, which is very little when you think of people making a film every year. Some people have done fifty or sixty films.
After college, I did a bunch of different jobs - taught English in Mexico, worked in public radio, worked for a web design company - but there was something about documentaries that really attracted me.
Because of the excellent training in Malayalam cinema, where we have very tight budgets, you are forced to make it work in a small budget and at the same time you have to tell the story effectively.
I'm not one of those people who sees documentaries as a stepping stone to doing fiction. I love documentaries and watch tons of documentaries. But, I like fiction films a lot, too.
In 'Fable 1,' the number of features was more important to me than what the features did. And as a games designer I've come to realize that it's not the number of features you have, it's the way that those features interact.
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