A Quote by Liz Garbus

Each project draws you in on its own merits as opposed to an intellectual choice of, "Well, I'm going to shift from vérité filmmaking to more archival." — © Liz Garbus
Each project draws you in on its own merits as opposed to an intellectual choice of, "Well, I'm going to shift from vérité filmmaking to more archival."
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.
Not only are we going to shift in our own lives - away from always trying to identify ourselves on the basis of what we have, what we do, and who we are better than, and so on - but shift into more reaching out, more service, more kindness, more living the virtues that Lao Tzu spoke about twenty-five hundred years ago.
Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You're taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that's real, that's really happening, and render this celluloid sculpture of this real thing. That's what really separates the power of doc filmmaking from fiction.
Every project is different. Adapting 'Robopocalypse' would be totally different than adapting, say, 'Hunger Games.' Each project has its own life and its own identity. You get into trouble when you think there's one single way to approach everything. Each project, there's a different way to attack it.
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.
I don't believe that films can be compared to each other as each one is a work of art and deserves appreciation on its own merits.
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.
A society which is clamouring for choice, which is filled with many articulate groups, each urging its own brand of salvation, its own variety of economic philosophy, will give each new generation no peace until all have chosen or gone under, unable to bear the conditions of choice.
The idea of recontextualizing images from different eras to express larger ideas about modern times was very exciting to me. That archival aesthetic is the foundation of my filmmaking style.
Every project has to stand on its own. It's a different identity within each project, and I feel like that's the way it should be.
Elia Kazan. He wrote my favorite book about filmmaking, 'Elia Kazan: On Directing.' There is a thing in the book that I do every time, it's part of my production structure. He said when you're hiring an actor, ask them what draws them to the project, and don't lead them to the answer.
Faith is a cop-out. If the only way you can accept an assertion is by faith, then you are conceding that it can't be taken on its own merits. It is intellectual bankruptcy.
Even though Noah is in the Koran as well. But we knew going into this project that you can't make stories or render images about the Prophet. But I do believe people are missing out if they don't have the choice to see this film.
It's really hard to maintain a band as a democracy. Again, I think there's been a shift. There's a lot of emphasis put on style and a singular personality, as opposed to a more anonymous group of people playing music. It's more about can I dress this person up? Are they going to look pretty? I feel like the cult of personality is back, for sure.
In some sense our aim ought to be to convert the school from an academic institution into an intellectual one. That shift in the culture of schooling would represent a profound shift in emphasis and in direction.
I feel more at home in London than in Los Angeles, definitely. If I could have my choice, I certainly would live in London as opposed to LA. I just prefer it here. But I love the work and in LA there's just so much more of it, and as an actor you kind of have to go where the work is. Luckily, I've been able to get the work out there. If work brings me back here, and a project is here and I can do it, I'll jump at the chance.
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