Top 786 Documentary Quotes & Sayings

This whole business of documentary being a second-class citizen is bullshit. A documentary can be as interesting, as dramatic, as sad, as funny, blah, blah, blah, as a fiction movie. Or it can be as awful as a fiction movie!

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.

I only watched the documentary 'Diana: In Her Own Words,' which is now on Netflix. I didn't watch another documentary. I don't think I would have got the part without it.

You kind of form a bond with your subjects, in a way. You're in it together. To a degree that people don't realize, documentary films - or at least the kind of documentary films I'm interested in - are a collaborative undertaking with the subjects.

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.

When you're making a real documentary, you shoot it and the movie happens. You don't make - this sounds corny - you don't make a documentary, a documentary makes you. It really does.

When I hear the word "documentary," I don't think certain things should be left out. You've got to keep it 100 percent as much as you can, unless your group has a meeting beforehand and says, "Yo -- don't say this, 'cause boom, boom, boom." Other than that, it's a documentary so let's document, you know what I mean?

It's difficult to make movies. For me it was easier, as a refugee in Switzerland, to make documentary films, because I didn't need a lot of money for it. The way I tell my story or my opinion would be very similar in both fiction and documentary forms. But I found I could speak more effectively to convey this brutal reality through documentary than I could through fiction.

The dismal half-baked images of the average "reportage" and "documentary" photography are self dammning... the slick manner, the slightly obscure significance, the esoteric fear of simple beauty for its own sake - I am deeply concerned with these manifestations of decay. Gene Smith's work validates my most vigorous convictions that if the documentary photographs is to be truly effective it must contain elements of art, intensity, fine craft and spirituality. All these his work contains and we may turn to his work with gratitude, appreciation and great respect.

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.

There's a real difference between a documentary that was all about facts and history and information. People just don't get as engaged in that kind of documentary - they don't fall in love, they don't cry, they don't forget who they are, they don't ride with you. As we realized we had richer, vérité kind of people, what we wanted to do is focus in on the vérité story.

I'm not somebody who comes in with a whole outline, and says, "Here's the movie we're going to make." That's not what a documentary is for me. I think a documentary is about capturing events as they unfold in real time.

My hat's off to documentary filmmakers. I don't know if I'm ever going back to it. You're treated like a second-class citizen at most film festivals. You take the bus while everybody else is flown first-class. If you're a feature film director, you're put in a five-star hotel, and if you're a documentary director, you stay in a Motel 6.

When you're watching a documentary, the danger is to romanticize.

Before I published my first book, I worked for a while as a documentary and wedding/bar mitzvah videographer, and a part of me still mourns the lost filmmaker I'll never be. Working on a documentary is nearly the opposite artistic process to writing: as a writer you are always trying to fill out a world to fit your story, but as a documentarian your work is to carve a story out of the world. Sometimes, when I'm feeling particularly blocked at my computer, I miss the days when I could just point my camera at something interesting and wait to see what happens.

People outside the documentary world don't realize how time-consuming making a documentary film is there is a lot of responsibility, and in order to make something good you need time.

In a one-hour documentary, you can tell maybe ten stories. That's how the documentary is structured. I wrote to forty of the greatest historians of both African and African-American history, and hired them as consultants. I had them submit what they thought were the indispensable stories, the ones they felt this series absolutely had to include.

I think the beauty of documentary work is that it's a mystery - you never know where it's going to lead you. You start out with some notion of it, but it's very different from a script. A script you write, you shoot against, and you know what the story is going to be. There's always the element of surprise, but the surprise comes from performance, from something that's improvised, it comes from someone who sees it inside an already determined framework. In documentary, it's never determined. It's never the same, and affords enormous possibility.

I really liked that documentary, 'Room 237.'

There is no way I could have ever dared to make a documentary, much less have the money to make a documentary, if it was on 16mm. But, with the magic of digital.

When I hear the word 'documentary,' I don't think certain things should be left out. You've got to keep it 100 percent as much as you can, unless your group has a meeting beforehand and says, 'Yo - don't say this, 'cause boom, boom, boom.' Other than that, it's a documentary so let's document, you know what I mean?

If I weren't making documentary films, I suppose I'd be teaching.

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.

With any rock documentary or band documentary you always recognize things that you've experienced some version of.

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."

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.

We need to find another way or another shape or an allegory or something that tells us more. Even Vagabond - it was a fiction but it was really a documentary. I mean, it has the texture of documentary. Even if I made up every line, it has the texture of being true.

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.

Documentary: That’s a sophisticated and misleading word. And not really clear… The term should be documentary style… You see, a document has use, whereas art is really useless.

We all need to be huge supporters of the theatrical documentary.

Films are always a fiction, not documentary. Even a documentary is a kind of fiction.

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.

It's a funny thing with documentary films - you want them to feel as entertaining and as gripping as a fictional film. With a fictional film you want it to feel as realistic as a documentary 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.

I've been encouraging documentary filmmakers to use more and more humor, and they're loath to do that because they think if it's a documentary it has to be deadly serious - it has to be like medicine that you're supposed to take. And I think it's what keeps the mass audience from going to documentaries.

I started as a documentary maker, and they're my first love.

A lot of the distinctions that we make between drama and documentary are spurious. We're deeply confused about these issues. About the difference between the two, about where documentary ends and drama begins.

I think what I love about the documentary process is that you bring yourself to the documentary. And hopefully that makes you ask good questions, and hopefully that makes you reveal a little bit about yourself as well.

Documentary is reality. It shows the truth.

I'm a huge fan of the Ken Burns documentary style, big time. I love documentaries full stop. I'm a big documentary fan. That's my reality. I don't like reality TV. I like it like that.

I was the first independent to walk in with a documentary.

I'm kind of a twisted social documentary photographer.

A good film is also a documentary

When you say documentary, you have to have a sophisticated ear to receive that word. It should be documentary style, because documentary is police photography of a scene and a murder ... that's a real document. You see, art is really useless, and a document has use. And therefore, art is never a document, but it can adopt that style. I do it. I'm called a documentary photographer. But that presupposes a quite subtle knowledge of this distinction.

There is a documentary element in my films, a very strong documentary element, but by documentary element, I mean an element that's out of control, that's not controlled by me. And that element is the words, the language that people use, what they say in an interview. They're not written, not rehearsed. It's spontaneous, extemporaneous material. People

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.'

We exaggerate the difference between documentary and fiction. I think that on some level a fiction film is also a documentary on the actors. You can't wash away your life's history, which is written on your face, unless you get a facelift.

Above all, documentary must reflect the problems and realities of the present. It cannot regret the past; it is dangerous to prophesy the future. It can, and does, draw on the past in its use of existing heritages but it only does so to give point to a modern argument. In no sense is documentary a historical reconstruction and attempts to make it so are destined to failure. Rather it is contemporary fact and event expressed in relation to human associations.

For a documentary filmmaker, I do very well.

The first documentary I saw that tried to show the actual experience of being a soldier in combat was 'The Anderson Platoon,' by French director Pierre Schoendoerffer, which won the Oscar for best documentary in 1967.

I love documentary because it's alive.

Now documentary evidence is acceptable. What does that mean? If you have documentary evidence that a person served as a guard in one of the death camps and the documents have been authenticated, that is grounds to charge the person with crimes against humanity. And that's why you see the spate of trials previously, for example, in the '70s and the '80s, even in the low '90s. That was not the case until the change in the law.

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.

When I graduated from Brown after majoring in women's studies, I made my first PBS documentary, 'Women of Substance.' My first feature documentary was called 'American Hollow,' which I did for HBO and was at the Sundance Film Festival.

Fear is not a word in my football documentary.

I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.

But one of the amazing things about documentary is that you can remake it every time you make one. There is no rule about how a documentary film has to be made.

Objectivity is the purpose of documentary filmmakers.

Maybe every two films you need to do documentary to tell what you really want to tell and not be limited by the medium. With documentary you don't create the reality you have to hunt the reality.

'Monuments Men' is not a docudrama. It's not a documentary.