A Quote by Kenneth Turan

A TREAT. FASCINATING. Director Lipes is a classic cinéma vérité practitioner in the mold of Albert Maysles and Frederick Wiseman. — © Kenneth Turan
A TREAT. FASCINATING. Director Lipes is a classic cinéma vérité practitioner in the mold of Albert Maysles and Frederick Wiseman.
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
Wiseman's films are some of the most pure cinema, and to take a journey in a Wiseman film is like no other. He's been doing it so long, with a body of over 40 films!
What I'm really trying to do is recreate classic Hollywood cinema and classic genre cinema from a woman's point of view. Because most cinema is really made for men, how can you create cinema that's for women without having it be relegated to a ghetto of "chick flick" or something like that?
I think it's a great pity in the Anglophone world that we conflate cinema verite and Direct Cinema; they're, in fact, ontological opposites. In Direct Cinema, we create a fictional reality with characters and pretend we're not that.
Albert Frederick Mummery and Chris Bonington are the British climbers I most admire.
I'm anti-verite. I think the verite style is a completely false thing. Most things are false to arrive at a truth; verite is falsity without acknowledging its falsity.
Michio Kaku and Albert Einstein, they're both so ahead of our time. It's just fascinating to read about them, what their theories are on loopholes and everything else. It's fascinating stuff.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
Realism is always subjective in film. There's no such thing as cinema verite.
Kati with an I was a New York Times Critics' Pick and I was really happy that it got a run uptown in Harlem at the Maysles Cinema, which is a great space but isn't necessarily the most well attended for a week-long screening.
I think Direct Cinema's trying to be insightful by looking at reality in a very close way while, in fact, much more is staged than we like to think. In cinema verite, it's about trying to make something invisible visible - the role of fantasy and imagination in everyday life.
I do not believe in the Cinema verite. Sometimes a really good lie is better than any truth.
I was this classic film school snob who thought mainstream cinema was synonymous with bad cinema.
I don't necessarily believe in the ideology of cinema verité. I think by the very fact that you have a camera there you are affecting the story and you are influencing it.
When I forget the power of the word, I read Frederick Buechner. When I forget the deep relief of telling the truth, I read Frederick Buechner. When I forget to look for the holiness all around me, I read Frederick Buechner. When I forget why the gospel matters, I read Frederick Buechner.
I came from the school of cinema verite documentaries, which was: Do not manipulate reality as it was happening but create a narrative in the editing room.
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