My documentaries have always been very much constructed in the spirit of dominant cinema. From the time I started making non-fiction, I was mainly interested in designing and creating documentaries like fiction, so it was a natural evolution to try and embark on doing a dramatic narrative.
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.
One day I decided to move towards documentaries or to move to more directing in documentaries at this point in my career. Why documentaries? I also love fiction. I would love to direct a fiction movie as well. But I think where I come from, reality is so interesting and has in it so many good stories to tell, this is why I'm doing that. I'm enjoying that.
I'd been writing fiction for 50 years, since I was 19. And when you write fiction, it becomes a way of thinking: there's always a novel around. The strange thing was that after 'Remember Me,' there wasn't.
I think that, as a filmmaker, you're always making the same film, regardless of how many different stories you tell. This is the case for me, whether I'm making documentaries or fiction films.
I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.
People look for morals in fiction because there has always been a confusion between fiction and philosophy.
Telling ourselves that fiction is in a sense true and at the same time not true is essential to the art of fiction. It's been at the heart of fiction from the start. Fiction offers both truth, and we know it's a flat-out lie. Sometimes it drives a novelist mad. Sometimes it energizes us.
I have always been intensely uncomfortable with the idea of a science fiction writer as prophet. Not that there haven't been science fiction writers who think of themselves as having some sort of prophetic role, but when I think of that, I always think of H.G. Wells - he would think of what was going to happen, and he would imagine how it would happen, and then he would create a fiction to illustrate the idea that he'd had. And no part of my process has ever resembled that at all.
I've been a fan of vampire fiction since way, way back - I loved Stephen King, Anne Rice, Peter Straub, Robert McCammon, Shirley Jackson, lots of great horror and paranormal fiction.
I don't like docudramas. Documentaries should not go together with fiction, or half-fiction or quarter-fiction. The two should not go together. They cannot mix.
I've always been a reader of science fiction, and I have loved a lot of feminist science fiction.
Science fiction, as I mentioned before, writes about what is neither impossible nor possible; the fact is that, when the question of possibility comes up in science fiction, the author can only reply that nobody knows. We haven't been there yet. We haven't discovered that yet. Science fiction hasn't happened.
When I'm making documentaries, I think a lot about how fiction films play. I want them to have the pacing, the twists and the character development of fiction films.
I had worked in fiction a lot before I started making documentaries, but when I was around 32 or 33-years-old I suddenly got so fed up with the world of fiction, which is so money-centered.
I used to write fiction, non-fiction, fiction, non-fiction and have a clear pattern because I'd need a break from one style when going into the next book.