A Quote by Richard Ray Perez

The main reason why I'm a documentary filmmaker is the power of the medium. The most powerful films I've seen have been documentaries. Of course, there are some narrative films that I could never forget, but there are more documentaries that have had that impact on me.
I had seen some films made about the underground music world in Tehran, and most of them were short documentaries about 30 or 40 minutes long. And I always wondered why they weren't publicized more. Really, their only flaw was they were short documentaries.
The message films that try to be message films always fail. Likewise with documentaries. The documentaries that work best are the ones that eschew a simple message for an odd angle. I found that one of the most spectacular films about the Middle East was 'Waltz With Bashir,' or 'The Gatekeepers,' or '5 Broken Cameras.'
Most of my films have been documentaries, but I'm also very interested in narrative filmmaking.
Documentary films have always been my passion, I have done documentaries.
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.
The power of the documentary film, when done well, I think is usually more impacting than a narrative, at least for me. Documentaries are also cheaper, they are more accessible to make.
For me, the distinction between documentaries and feature films is not so clear - my "documentaries" were largely scripted, rehearsed, and repeated, and have a lot of fantasy and concoction in them.
In the 1980s, I had a lot of films, documentaries for television, which were about why the trade unions had failed to organize resistance to Margaret Thatcher's plans. And they were banned. I had to fight for those films.
Critics can say what they like about the films, but very often, there's a certain expectation of documentaries that they're supposed to be like PowerPoint presentations. I see documentaries as movies. So when I see some critics writing that we could have done without the recreations altogether - well, perhaps.
I don't think there's so much difference between making documentaries and feature films. I think it's even harder to make documentaries.
As far as documentaries go, I believe unreservedly that they serve an important function in our culture. I'd love to be able to make both documentaries and feature films simultaneously, but so far that hasn't happened.
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 have wondered if I might be placed on a watch list of some sort by the government, though. I know that the documentary filmmaker Laura Poitras, who is a friend and who has made documentaries about controversial Middle Eastern terrorists has had trouble at customs when she travels internationally - but nothing like that has happened to me.
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.
One of the things I've been talking about with my critical writing and my own work is that these movies are seen differently in a theatrical space. It's very important to me. I edit films to be seen theatrically, like fiction material I've worked on like Listen Up Phillip or other documentaries.
I never uttered a word about things, but with my age now, I've completely lost all reservations. In more ways than one. I was never in front of the camera, for example, but now I've been in films and documentaries.
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