A Quote by Tony Kaye
When I started my filmmaking journey 17 years ago, I honestly didn't know what a documentary film was.
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I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.
Until I was 16 or 17, I had heard practically nothing about the history that preceded 1945. Only when we were 17 were we confronted with a documentary film of the opening of the Belsen camp.
Several years ago, as I was transitioning from film finance to film production and writing again, someone asked me how long I would try to get back into filmmaking before I gave up? My response was "giving up" was not an option.
As the world of independent feature filmmaking became increasingly commercialized by the mid-1990s, there was also a parallel, much more positive development: a resurgence in documentary filmmaking, thanks in part to the advent of the cheaper, lighter digital format that helped to offset the daunting costs of pursuing political aims through film.
This journey started about 42 years ago in a little town of Brunswick, Georgia.
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.
I began my filmmaking career by shooting a feature length documentary in China in 2004, the year I graduated from film school.
What's great about documentary, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of 'documentary.'
When I started painting 17 years ago, I never imagined that anyone would look at my work or buy my pieces. But now I do about 14 exhibitions each year.
What's great about documentary genre, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of "documentary."
Documentary filmmaking has all the challenges and hardships of narrative filmmaking without any of the infrastructure or support. That's both a blessing and a curse.
I have this theory about us. When we started writing our own songs, we were 17 years old. When you're 17, you write songs for other 17-year-olds. We stopped growing musically when we were 17. We still write songs for 17-year-olds.
I found my father's Super8mm film camera when I was around eight years old and started shooting with it. I had no idea what I was doing at the time, but that's really where my filmmaking began.
You know, this is such a rich time that we've just been involved in, and there's really a job now for historians. Film is still very young. This is the first hundred years of filmmaking. So I think it's important that we have some sense of history and continuity. Especially in film.
I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.
I saw this documentary he did years ago called 'Fade to Black.' I was always a Jay Z fan - I liked Jay Z - but after I saw that documentary, I loved Jay Z. I realized how intelligent he was.
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