A Quote by Kevin Macdonald
We should not confuse having a Flip camera with making a documentary.
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People have said to me, 'Oh, you are much nicer making documentaries than you were in politics.' So I should be. If you are making a documentary, you are having fun. You are not under any pressure, normally.
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.
One of my favorite tools is 'flip it.' 'Flip it' can become your new favorite mantra when you are having one of those mean thoughts. You can choose to flip it and change how you are feeling about yourself in that moment. This is helpful at any age.
Sometimes my fashion pictures can look a little bit like documentary style pictures. So having a camera in my hand was normal.
The camera cannot leave the man, but the man can leave the camera. It's in the style of documentary where you make an agreement between a camera and a man and say, "I'm going to film you now."
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.
Both those taking snaps and documentary photographers... have not understood information. What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being.
To the documentary director the appearance of things and people is only superficial. It is the meaning behind the thing and the significance underlying the person that occupy his attention... Documentary approach to cinema differs from that of story-film not in its disregard for craftsman-ship, but in the purpose to which that craftsmanship is put. Documentary is a trade just as carpentry or pot-making. The pot-maker makes pots, and the documentarian documentaries.
My manager and fellow YouTuber, Mike Lamond, encouraged me to start a YouTube channel as a way to practice speaking, entertaining, and being more comfortable in front of a camera. In the beginning, I used an $80 dollar flip-camera and edited every episode myself.
There's nothing sillier than fake rough edges, like the handheld camera you sometimes see on "NYPD Blue," shaking and jittering around, unmotivated, way more than any actual documentary camera would.
People outside the documentary world don't realize how time-consuming making a documentary film is there is a lot of responsibility, and in order to make something good you need time.
With the RED, I didn't have this impression at all. I felt that it was as heavy as a film camera. Having this great crew, with the DP and his assistants, I found it making as much of an impression as a very big film camera. I didn't relate to it as much. I remember avoiding it during the shooting rather than paying attention to it.
I like having the digital camera on my smart phone, but I also like having a dedicated camera for when I want to take real pictures.
I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.
In a drama, the camera doesn't exist. In a documentary, it does.
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.
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