A Quote by Liz Garbus

I don't think you make documentary films to get your country house. If you're trying to gamble on that, you've very foolish. — © Liz Garbus
I don't think you make documentary films to get your country house. If you're trying to gamble on that, you've very foolish.
It's difficult to make movies. For me it was easier, as a refugee in Switzerland, to make documentary films, because I didn't need a lot of money for it. The way I tell my story or my opinion would be very similar in both fiction and documentary forms. But I found I could speak more effectively to convey this brutal reality through documentary than I could through fiction.
In documentary films, being able to be a storytelling and embrace film as an art form - while being very clearly connected in trying to help make the world a better place - is really important to me.
You kind of form a bond with your subjects, in a way. You're in it together. To a degree that people don't realize, documentary films - or at least the kind of documentary films I'm interested in - are a collaborative undertaking with the subjects.
There is a documentary element in my films, a very strong documentary element, but by documentary element, I mean an element that's out of control, that's not controlled by me. And that element is the words, the language that people use, what they say in an interview. They're not written, not rehearsed. It's spontaneous, extemporaneous material. People
We exaggerate the difference between documentary and fiction. I think that on some level a fiction film is also a documentary on the actors. You can't wash away your life's history, which is written on your face, unless you get a facelift.
I think documentary filmmaking is a braver way to make films because it's real, and you're really there.
The key fact missed most often by social scientists utilizing documentary films for data, is this: documentary films are not found or reported things; they're made things.
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.
My feeling is, when you are writing an essay, you don't make anything up. This may be a very Protestant notion, and I'm aware of the fact that memory is fallible, that if I had access to films or some absolute documentary evidence of what happened, it might look different; we get confused and fuzzy.
I am a director and I think actually they're not that different - dramas and docs aren't that different. When I'm doing a drama I'm trying to make things feel as believable and real as possible. The hair, the make-up, the costume, the design, you're trying to make it authentic. And when you've got a documentary it's all authentic, so what story are you going to tell and how do you make it dramatic and exciting? It's the same thing.
Which would you rather have, capital lined up on your borders, trying to get into your country or trying to get out of your country? We are the capital magnet of this planet and we are the savior for not only people, for not only freedom, but also for capital.
I'm doing a lot of research right now on what's happening in Arizona. That's where I'm at with more conventional documentary filmmaking. I think it is an urgent cause. I think I need to make something. I'm a part of it. Everybody's a part of it, and this country needs to know what's happening there in a very truthful way.
The picture is not a documentary, ... It's a drama that has to be crafted. Reality is not art. You have to make choices when you're trying to make something work. And the choices we make I think are accurate. There aren't any lies in it. There are assumpt
Don't gamble the future of your children and Malaysia; think and contemplate because your vote will determine not only the future of the country but also your grandchildren.
In Punjab wheat production it is a 'gamble of temperature' unlike other parts of the country where there is a 'gamble of rainfall'.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
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