Top 1200 Documentary Photography Quotes & Sayings - Page 18
Explore popular Documentary Photography quotes.
Last updated on November 15, 2024.
Why are all the artists so dead-set on distorting? It seems to be a reaction against photography, but I'm not sure.
Every time you are getting ready to make a shot in a documentary film, you are asking yourself questions about your cinematographic approach. You are approaching the truth, but the image is never the truth itself.
I'm still producing scripted features, and I am already working on a new documentary project with Norman Lear and Lara Bergthold. It is about the Declaration of Independence and the relevance of the document today. And it will be fun and engaging - I promise!
Sure, 'An Inconvenient Truth' was my first documentary. What a wonderful experience. I saw Al Gore doing his slideshow presentation, and had this nutty idea that we had to make a movie out of it.
If you want to make a documentary you should automatically go to the fiction, and if you want to nourish your fiction you have to come back to reality.
I would encourage people that, if you are waiting for the end of 'The Office,' to re-tune in right away. It is the beginning of the end, where we start to break down what's going on with this documentary and see behind the scenes with who is involved.
Bizarrely funny... Rarely is a documentary as well attuned to its subject as Howard Brookner's BURROUGHS, which captures as much about the life, work and sensibility of its subject as its 86 minute format allows.
With newspapers cutting foreign bureaus and budgets shrinking for long-form, investigative journalism, documentary filmmakers are often filling a void nowadays in the media landscape with their ability to spend time with their stories and subjects.
Photography is better than art. It is a solar phenomenon in which the artist collaborates with the sun.
I don't care so much anymore about 'good photography'; I am gathering evidence for history.
All we did was to turn back the time to a photography of precision which is superior to the human eye.
I'm so proud of myself. I thought, 'I've got to learn about American history.' I literally took two months off and watched every documentary known to man. I really didn't know Benjamin Franklin was so cool.
Photography is a very lonely medium. There’s a kind of beautiful loneliness in voyeurism. And that’s why I’m a photographer.
I got into photography when my kids were little, and I continued talking pictures over the years.
Photography as a fad is well-nigh on its last legs, thanks principally to the bicycle craze.
On 'The Office,' so much of the show is about disguising your true feelings and your romantic feelings because it was a mock documentary.
I agree, intellectualism in photography is overrated. I just wish it could be replaced by common sense.
Photography can strip from the world that spiritual dust and grime with which our eyes have covered it.
Machines have come, art has fled, and I am far from thinking photography can help us.
We're telling a story. And the demands of that are different from the demands of a documentary. The audience must believe in order to keep faith in the story.
Right after watching 'Kabul Express,' I wanted to work with Kabir sir. Moreover, earlier he was a documentary maker, and the respective genre has always fascinated me, and I still desire to work in one.
Part of the role of photography is to exaggerate, and that is an aspect that I have to puncture. I do that by showing the world as I really find it.
...it is a very risky thing for anyone to go about proclaiming the truth simply because he finds himself in possession of concrete documentary proofs or on the evidence of his own eyes, which is always overestimated.
Right after I did 'The Fountain,' I wanted to go make a documentary or something that was less constructed - more natural. I was searching for a project, and sniffing around, 'The Wrestler' fit right in
In late 2011, I watched a documentary by Stephen Fry called 'The Secret Life Of The Manic Depressive.' He shared his story of bipolar disorder and depression, and it sounded exactly like me. I just cried.
I had long been resistant to doing a documentary about my mother for personal reasons. And I thought there was no way she'd want to, but then I asked her and she said 'yes.'
With documentary-film projects, you hope you highlight an area of concern people haven't thought about before. A lot of times, I'm asking myself - 'This seems to be a significant problem. What can be done that hasn't been done?'
I watched the Sandra Bland documentary and her tape itself over and over and over and over again, and just the reality of that, the fear in that.
In documentary you sometimes see the tyranny of the linear, but what I've noticed in the last ten years in narrative film is the tyranny of the non-linear.
I didn't do well in high school, but I took photography, and I loved being able to capture moments.
Stories have a special way of putting us inside the people, inside the boots of the soldiers. You're absorbed in a way a documentary or nonfiction can't do for you.
In the documentary space, the biggest and most obvious difference is that in those films you're not in it for a financial gain. It's a piece of collaboration and artistic expression, that pushes change and self expression, in the sense that everyone has a story.
I talk a lot about photography. It's cheap becuase my supply always exceeds demand.
I watched a documentary about Freedom Riders. One young woman told her parents, 'I'm going to leave college to ride and represent the future.' I thought, 'Who would do that now?' Who would do that for my son?"
For me, the making of a documentary to mark the 70th anniversary of the Battle of Britain was an intensely personal journey. I was born in February 1940, so I was just six months old as the battle raged overhead.
I myself happen to find, on the basis of experience and nothing else, that photography can be a high art.
Photography... has lived under the tyranny of its subject matter: the object has exercised an almost total domination.
I don't think I treat my film work as an extension of my photography. There are two different sets of rules there.
I wanted [photography] to be more than a document, to be something that is as close as you could possibly be to the subject.
Photography is like fencing. You must keep your distance, wait, and then thrust.
For me photography is not an intellectual process. It is a visual one.... Whether we like it or not, we are involved in a sensual business.
Photography is a very forgiving medium. Anybody that can afford film and a camera can make pictures.
If you are interested in photography because you love it and are obsessed with it, you must be self-motivated, a perfectionist, and relentless.
There are many documentary filmmakers who have a tough time because they don't really get what they need to do what they want. There are so many people with good visions that should be encouraged and helped. And they will deliver, I'm sure.
Documentary people have to know that, particularly nowadays, they have to be on a mission. And part of the mission is to - is to be like good journalists: search for the truth, have an open mind, listen to as much as you can of different sides of things.
A documentary film is a great way of helping people understand because, somehow, when one is able to see the people involved, it lends a certain immediacy and understanding that is hard to get on the page.
There would be brilliant songs, but, as [Bob] Dylan admitted on the recent Martin Scorsese documentary about him (No Direction Home), the specific muse that inspired "It's Alright Ma" would not return.
Photography has all the rights, and all the merits,
necessary for us to turn towards it as the art of our time.
...photography can lie as convincingly as literature or painting. The angle, the selected content, the assumed context.
I've often thought even ragtag gatherings of documentary filmmakers are more fun than gatherings of fiction filmmakers.
Photography is a kind of virtual reality, and it helps if you can create the illusion of being in an interesting world.
Photography has not changed since its origin except in its technical aspects, which for me are not important.
But if anyone so much as threatened them because of what Kaia had once done, she would turn the Slumber Party Massacre into Blood, Bath and Beyond, a documentary by Kaia Skyhawk.
With documentary-film projects, you hope you highlight an area of concern people haven't thought about before. A lot of times, I'm asking myself - 'This seems to be a significant problem. What can be done that hasn't been done?
Street Photography is like fishing. Catching the fish is more exciting than eating it.
Right after I did 'The Fountain,' I wanted to go make a documentary or something that was less constructed - more natural. I was searching for a project, and sniffing around, 'The Wrestler' fit right in.
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.
I came from a background of photography so I look at details and visuals, and I see things in pictures or signs.
Lack of diversity in Hollywood has been well documented thanks to #OscarSoWhite, but lack of diversity in the documentary world is less talked about.
I don't really use still photography very much anymore except to document my work.
