A Quote by Michael Rapaport
I don't think the subject of a documentary film should be producers on it.
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I would love to direct a documentary film if any good subject comes my way.
I think when it comes to television as opposed to film, the producers really are the writers. We work with people who are purely financial producers.
I wanted to catch the problem of consumption, waste, poor people eating what we throw away, which is a big subject. But I didn't want to become a sociologue, an ethnographe, a serious thinker. I thought I should be free, even in a documentary which has a very serious subject.
It's a funny thing with documentary films - you want them to feel as entertaining and as gripping as a fictional film. With a fictional film you want it to feel as realistic as a documentary film.
I don't think you should sit around and wait for people to give you an opportunity to express yourself or do your work, or whatever. Actors have to be producers and writers have to be producers.
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.
In film, I believe things should either be documentary or drama.
I'm organizing documentary films, and whenever scriptwriting gets too tedious I go to my editing room and start to edit the documentary, even if I don't have the full funding yet. So you have to keep yourself busy, you have to like the subject matter.
Stupidly, in our industry, producers pay precious money to sign stars whom they might not even use in the film. Producers believe stars make hits; actually it is the script that makes a film successful.
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.
I'm ready for all forms of dialogue about the film The Conquest. There will be a lot of political talk, but I don't think the film itself will be scandalous. For the French, there are so many emotions relating to Sarkozy and politicians in general that I think the film will generate a lot of passion, whether it be negative or positive. Above all, it's a fictional film. It was important not to make a documentary and to really pay attention to the images. From the choice of the actors to the mise en scene, the film is completely cinematographic. It's not just a boring political movie.
Most people look at a feature film and say, "It's just a movie." For me there is no border or wall between fiction and documentary filmmaking. In documentaries, you have to deal with real people and their real feelings - you are working with real laughter, happiness, sadness. To try to reflect the reality is not the same as reality itself. That's why I think that making a good documentary is much harder than making a good feature film.
My hat's off to documentary filmmakers. I don't know if I'm ever going back to it. You're treated like a second-class citizen at most film festivals. You take the bus while everybody else is flown first-class. If you're a feature film director, you're put in a five-star hotel, and if you're a documentary director, you stay in a Motel 6.
I think the greatest thing about making a documentary is your ability to just follow the story and the subject.
But one of the amazing things about documentary is that you can remake it every time you make one. There is no rule about how a documentary film has to be made.
What I want to do is create great content on television and movies. It is not my role to program only for Latinos, and you can't really assume that Hispanics only want Hispanic content. But I do think that we are severely underrepresented in television and film. And instead of complaining about not seeing ourselves, we should become film producers, directors, and writers, and tell our story.
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