A Quote by Morgan Neville

There was no model how to make a documentary production company work. I figured it out as I went along. — © Morgan Neville
There was no model how to make a documentary production company work. I figured it out as I went along.
It is, I think, harder for women. I haven't quite figured it out, and all of my women friends haven't figured it out -how the hell do you do this? How do you work and have families?
I'm 17 years old. I'm not a straight-A student or anything. Even so, I figured out how to make an Internet that they can't wiretap. I figured out how to jam their person-tracking technology. I can turn innocent people into suspects and turn guilty people into innocents in their eyes. I could get metal onto an airplane or beat a no-fly list. I figured this stuff out by looking at the web and by thinking about it. If I can do it, terrorists can do it. They told us they took away our freedom to make us safe. Do you feel safe?
There's a certain time in the core of making a movie from pre-production to halfway through post-production I don't read any project, my agent will tell people that "he's not reading." And then when I know how the movie's probably gonna work halfway into post-production, I'll come along.
You work with each individual actor as you perceive their needs to be. It's something that you've figured out in the weeks of pre-production.
Companies that actually survive and flourish are going to change their business model from production to aggregating the networks and the network services and solutions. If you're a construction company or an IT company or a logistics company or an information data operation, to the extent that you can find ways to help build the commons, you can get some commercial value in that.
If you believe that how you do your work is as influential as the work you do, then a theatre rehearsal, which is a microcosm of the world, is the perfect place to model social change because if it doesn't work this time, you can try again on the next production.
What the meat industry figured out is that you don't need healthy animals to make a profit. Sick animals are more profitable... Factory farms calculate how close to death they can keep animals without killing them. That's the business model. How quickly they can be made to grow, how tightly they can be packed, how much or how little can they eat, how sick they can get without dying...We live in a world in which it's conventional to treat an animal like a block of wood.
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.
The entire business world has figured out how to make huge buckets of money without hiring us to work for them.
If you are someone like Jeff Koons, and you have to work out how to make a big chrome heart or something, then there are lots of people and a big production involved. The money is more natural somehow. For me, I am just on my own in the studio, trying to make things work. One thing is sure: it doesn't make painting any easier.
When somebody would come in with a sketch that was not so good, you figured out in a room how to make that sketch work.
There was always this sort of weird process in the development and pre-production, thinking, 'How do we get the studio tracks that Joy Division recorded that are so clean and pristine but sound rough and live and how do we get the live versions to actually sound clear enough so you can make out what they're saying?' That was sort of the frustration with Anton Corbijn and myself, figuring out how we make that work.
I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.
I've always wanted to figure out how to do a walking story. I'd never figured out how to do one and have it work or be interesting or have anything that it's about.
No one was like, 'Here's how you swing.' It was just like, 'Let's go hit and figure it out along the way.' I always kind of figured it out.
I definitely want to start my own production company at some point. I'm actually teaming up with Funny or Die to put together a TV show right now, that I can't really talk about because it's still in the very preliminary stages, but if it pans out this will be the first project under my production company, which I have yet to name.
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