A Quote by Gillian Armstrong

I have major credibility as a hip, out-there documentary filmmaker, and I'm not going to say, 'I'm only a drama filmmaker' anymore. — © Gillian Armstrong
I have major credibility as a hip, out-there documentary filmmaker, and I'm not going to say, 'I'm only a drama filmmaker' anymore.
I've never seen myself as a documentary filmmaker. I see myself as a filmmaker, period, and I am interested in drama as well as in documentary.
If you're a great documentary filmmaker, it doesn't necessarily mean that you're a great narrative filmmaker. There are fantastic documentary filmmakers that can't direct actors. You don't have to do that in a documentary, if it's a real documentary.
Whatever storytelling muscles you've developed as a documentary filmmaker will be extremely helpful as a narrative filmmaker.
I never intended to be a documentary filmmaker. I think I became a documentary filmmaker because I had trouble writing, and I had trouble finishing things.
With filmmaking, I for so long was like, oh, I need permission to go out and be a director and be a filmmaker. And I read Robert Rodriguez's 'Rebel Without a Crew.' He just went out and did it, man. In his book, he even says just put your name on a business card and say you're a filmmaker. Congratulations, you're a filmmaker.
I learned that you have to say that you're a filmmaker. You're not a screenwriter; you're not a director for hire. You've got to take charge. You're a filmmaker, and you're going to make a film.
We've been fighting our whole lives to say we're just human beings like everyone else. When we start separating ourselves in our work, that doesn't help the cause. I've heard it for years: 'How do you feel being a black filmmaker?' I'm not a black filmmaker, I'm a filmmaker. I'm a black man, I have black children. But I'm just a filmmaker.
Real power is having the ability and the resources to tell an amazing story or to say 'yes' to a filmmaker and change not only the filmmaker's life but the world.
Some black filmmakers will say, "I don't want to be considered a black filmmaker, I'm a filmmaker." I don't think that. I'm a black woman filmmaker.
I'm a film director. Gay is an adjective that I certainly am, but I don't know that it's my first one. I think if you're just a gay filmmaker, you get pigeonholed just like if you say I'm a black filmmaker, I'm a Spanish filmmaker, I'm a whatever.
As a documentary filmmaker, 'Meru' was an irresistible challenge. You can spend years searching for the right story, but this one had all the elements: the obstacles, the characters, and the drama.
I'm not the kind of filmmaker who's going to go from one thing to the next. I often wish I was that filmmaker, but I'm just not.
The biggest misconception is that I'm only a documentary filmmaker, but in fact I have made many narrative shorts. My biggest inspirations are narrative films, and that's ultimately where I see myself going next.
By the time I finished 'Poison,' the New Queer Cinema was branded, and I was associated with this. In many ways, it formed me as a filmmaker, like as a feature filmmaker I never set out to be.
For a documentary filmmaker, I do very well.
Documentary has been a way for me to establish myself as a filmmaker. It's my way of proving that I have a language, that I can say something through film.
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