A Quote by Marshall Curry

In 2008, A.J. Schnack recruited Thom Powers to start the Cinema Eye Honors to recognize the artistry and craft that go into making documentary films. — © Marshall Curry
In 2008, A.J. Schnack recruited Thom Powers to start the Cinema Eye Honors to recognize the artistry and craft that go into making documentary films.
I'm organizing documentary films, and whenever scriptwriting gets too tedious I go to my editing room and start to edit the documentary, even if I don't have the full funding yet. So you have to keep yourself busy, you have to like the subject matter.
For me, learning about cinema and the craft and the art of it, through making films with great people, has been such a cool experience.
Since I come from documentary background and my father is a documentary filmmaker, for me the core essence of cinema is it's social statement. It is somewhat similar to the work of a journalist, just on a different level. This is the kind of cinema I enjoy.
To the documentary director the appearance of things and people is only superficial. It is the meaning behind the thing and the significance underlying the person that occupy his attention... Documentary approach to cinema differs from that of story-film not in its disregard for craftsman-ship, but in the purpose to which that craftsmanship is put. Documentary is a trade just as carpentry or pot-making. The pot-maker makes pots, and the documentarian documentaries.
The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn't.
Cinema is not truth. Even when you make documentary films, you can choose to show this shot and not the other shot - this side and not the other side. In cinema, there's one truth - not 'the truth.' It's only 'my point of view.' Cinema is powerful because of that.
A chef is a mixture maybe of artistry and craft. You have to learn the craft really to get there.
I am extremely proud that our cinema is being recognised in the West. I want Indian cinema to get its dignity, not by giving them the kind of films they expect from us, but by making cinema in a way that carries the legacy of the mainstream masters forward.
I don't even watch many huge films. I don't go to the cinema every weekend. I watch selective cinema and want to make my kind of films.
It is good that people are experimenting with cinema. They are trying to do serious and soulful cinema but such films don't stay in theatres for over a week. People ultimately go and watch Salman, Shah Rukh and Amir Khan films.
I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.
The key fact missed most often by social scientists utilizing documentary films for data, is this: documentary films are not found or reported things; they're made things.
If I weren't making documentary films, I suppose I'd be teaching.
It's true that there are younger people making films, and there are different kinds of films. This has created some attention in what's coming out of Greece, and people like to find a way to name this new ethnic cinema. It's not like there's a movement, or a common philosophy in making these films. They're just things that happened, and now people are paying attention to it.
For British cinema to survive, you really need a British film culture, and it's got to start down there, with young kids watching films in the cinema - so they can be transported to a different world.
With any rock documentary or band documentary you always recognize things that you've experienced some version of.
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