I think people were very skeptical always when they said, "Oh docs, they don't work. When you make depressing docs that don't have 'save this or save that,' they just can't do well." I fought very hard to say, "No. This is important. I think people care and I think it's interesting." I hope people go see it.
I don't normally make documentaries. I'm a drama director. I've made a few short docs, but I don't like talking heads or 'voice of God' narrators.
That's what happens in feature docs. The more time you spend, the more nuance emerges, the more a story evolves - but it's different than fiction, where you can reshoot something.
I have what docs call hyperemesis.
With docs, there's often a very direct communication between the filmmaker and the audience. With narrative movies, we leave it a little bit more open.
I was a user experience designer for Google Docs.
Let's say the docs present a simplified view of reality.
A lot of work was done with one of my best friends and editor, Spencer Averick, who's edited everything I've ever made from the very, very first documentaries; the very, very first films I made were docs, so we learned the form together.
There are a handful of music docs I'd love to do, including David Bowie.
I think music docs could turn off some people.
In narrative films, you set up reality, so you can limit the variables. You don't have that luxury with docs.
I've produced two docs for Cameron Crowe, and I've always loved him as a filmmaker.
The documentary genre, shows like 'Making a Murderer' and 'The Jinx' on HBO, there's been a whole raft of long-form docs.
Docs are more exhausting because of the physical labor that's required. Feature filmmaking is more exhausting because of politics and the bullshit. You get to the point of rolling film and until you lock picture it's one political game after another. They're both struggles for survival. They are two different worlds.
I really only became an editor, or started doing my own editing because I was filming the docs and you simply can't keep an editor on for as long as it takes so.
When I grew up, a director was Cecil B DeMille, a guy sitting down with a megaphone speaking. He was the voice of God, the image of God. When I went to start making docs, I quickly turned the megaphone to my ear not to my mouth. It's more about funneling in the words and listening as doc filmmaker.