A Quote by Werner Herzog
It's all movies for me. And besides, when you say documentaries, in my case, in most of these cases, means "feature film" in disguise.
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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.
You should bear in mind that almost all my documentaries are feature films in disguise.
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.
Well, I - all cases to me have interest. Every case is important to somebody, the people litigating that case. But the most difficult case for me is the case where one person says a, the other person says b, and you just don't know for certain who is not telling you the truth.
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.
At Knopf, we look at each book on a case-by-case basis... in some cases, we think a writer might get a boost from an endorsement by a fellow writer, but in other cases, a new book will be better served by other means, such as publicity and reviews.
Instructing in cures, therapists always recommend that "each case be individualized." If this advice is followed, one becomes persuaded that those means recommended in textbooks as the best, means perfectly appropriate for the template case, turn out to be completely unsuitable in individual cases.
I don't think there's so much difference between making documentaries and feature films. I think it's even harder to make documentaries.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
It's a simple thing he [Frank Daniel] taught me. If you want to make a feature film, you get ideas for 70 scenes. Put them on 3-by-5 cards. As soon as you have 70, you have a feature film.
I am really impressed by lawyers who write books and tell us that they never lost a case. Most lawyers who have never lost a case have not had enough hard cases. But there are very difficult cases out there.
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.
What means the most to me changes through the years. There was a time when movies meant the most. But when I'm concentrating on a project, that's what means the most 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.
We just compare our lifestyle to movies so you can relate to them. When I say, 'I bought a carpet from Aladdin so I could finesse and do magic,' that means I had to get me a new whip or I had to get me something in disguise to work my magic, to finesse, to get out of here.
When you're doing a film and the majority of the film is cast black, for me, it's most important to get people to view those movies as just movies, as just good movies. At the end of the day, regardless of the color of the cast, we're all doing the same thing in this business: trying to make a good film.
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