I had seen some films made about the underground music world in Tehran, and most of them were short documentaries about 30 or 40 minutes long. And I always wondered why they weren't publicized more. Really, their only flaw was they were short documentaries.
When you make documentaries or short films, you have to have eyes and ears in the back of your head and on the sides and all around you. I like that in my films.
By the time of the Singularity, there won't be a distinction between humans and technology. This is not because humans will have become what we think of as machines today, but rather machines will have progressed to be like humans and beyond. Technology will be the metaphorical opposable thumb that enables our next step in evolution.
You can write when you're dyslexic, you just can't read it. But I started writing short stories as a child and I found the short story format a real nice one. I love short stories and I love short documentaries or short films of any kind.
The message films that try to be message films always fail. Likewise with documentaries. The documentaries that work best are the ones that eschew a simple message for an odd angle. I found that one of the most spectacular films about the Middle East was 'Waltz With Bashir,' or 'The Gatekeepers,' or '5 Broken Cameras.'
The story of 'Mirror Mirror' is in many ways a story about evolution. It's about the evolution of a child into an adult. It's about the evolution of those dwarves into something a little less rock-like, a little more humanoid. It's about the evolution of history, too, from the darkness of the Middle Ages into the light of the Age of Reason.
The story of Mirror Mirror is in many ways a story about evolution. Its about the evolution of a child into an adult. Its about the evolution of those dwarves into something a little less rock-like, a little more humanoid. Its about the evolution of history, too, from the darkness of the Middle Ages into the light of the Age of Reason.
I made lots of short films, about nine or ten short films. And then I made a television film called 'This Little Life.'
I don't think there's so much difference between making documentaries and feature films. I think it's even harder to make documentaries.
In India, we always look at feature films as a progression over short films. But, abroad, people make a living making short films. The revenue might not be as much as in feature films, but the return on investment is good.
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.
When I went to film school about three years ago, the first two years you're required to make a series of short films. I started making films based on short poems.
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.
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.
Well, going way back, when we were making short films, it was just the two of us. Literally, Anna had her little camcorder and I had the boom and we were making documentaries.
Some filmmakers are more eclectic than others. I'm not one of those! I'm interested in what I'm interested in, which is films about the world, about what's going on. I started in TV documentaries with 'World in Action,' and those interests feed into the films I make now.