A Quote by Sharmeen Obaid-Chinoy
I don't think I'll be making documentaries my whole life.
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I don't think there's so much difference between making documentaries and feature films. I think it's even harder to make documentaries.
The luxury that I have is I'm not career-minded, I just live from one film to the next. For a time, I was making documentaries, and all my documentaries were winning awards and stuff, and then I lost interest in documentaries.
I love the idea of documentaries. I love seeing documentaries, and I love making them. Documentaries are incredibly easy to shoot. The ease with which you can hear something's going on, somebody's going to be somewhere: That sounds so interesting. Pick up your camera and go.
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 don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.
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.
When I first started, I saw myself shooting documentaries or making documentaries, which is what I did, mostly, for a number of years. So it was quite a surprise how I found myself shooting features. It was like my wildest dreams as a kid collided.
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 think that the whole voyeuristic attitude of filmmakers or of me personally - of shooting documentaries and so forth - is an important issue.
I think that the whole voyeuristic attitude of filmmakers or of me personally - of shooting documentaries and so forth - is an important issue. And it was an important issue to me, personally. And the whole question of when - when do you put the camera down or when do you keep shooting to get the shot. And a number of times in my life I've had that question hit me very hard.
The documentaries I made were never normal documentaries. They were about subjects I was obsessed with, and I suppose I thought I could sculpt them. What I think I do with my fiction is the same.
People who make documentaries have to be faithful to the facts. But when you are making a drama, a fiction based on the life, all you have to be faithful to is the spirit of the facts, which I think I was in every case. As long as you don't violate their spirit, you can play with the facts.
My background is sociology. Combined with my graphic approach, if I could do some film projects, I think I'd be very good at making documentaries eventually, but people don't think of me for that, of course. But dialogue is something I know I can be good at.
I like the rock documentaries that make it seem real. Some rock documentaries are meant to make the bands look larger than life.
People have said to me, 'Oh, you are much nicer making documentaries than you were in politics.' So I should be. If you are making a documentary, you are having fun. You are not under any pressure, normally.
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