Top 1200 Documentary Photography Quotes & Sayings - Page 8

Theatre is filled w/ passion, risk and drama (as much behind-the-curtain as on stage), perfect ingredients for documentary storytelling.

It's the best - combining the mediums of television, documentary, and books, to give you this transmedia experience for kids, for families, and for teachers.

[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography.

Stay humble to the craft and never forget how much it actually takes to be the main character of a documentary.

I don't think you make documentary films to get your country house. If you're trying to gamble on that, you've very foolish.

You can't tell by looking at a film-clip whether it is a drama or a documentary without knowing how it was produced.

Raman Raghav' was shot on location, but there are many stylistic things in it. I like this mixture of documentary and extreme stylization.

As a documentary filmmaker, I couldn't afford to give my children the lifestyle I had in San Francisco growing up.

A stand-up comedian who's assaultive and decent and has managed a career that has spanned over five decades deserves a documentary.

I didn't realize that, in doing a documentary, there is this process of discovery. It's not like a film or a play with a set script. It sort of reveals itself.

I take care to only teach courses about fiction film. I believe that this balances and broadens my documentary work.

I got five kids, and my oldest is a documentary film maker and camera man, and still photographer.

If we have anything to offer, as filmmakers and as TV makers now, it's this ability to feel as close to a documentary as you can get in a narrative form.

My dad had made a documentary called 'The Dream Factory' about MGM, and my whole life, I just wanted to be inside it. And there I was.

Two remarkable men -- one young, one old -- fuel each other's spirits in the beautiful documentary Keep On Keepin' On.

The great thing about 'The Exorcist' is it's dead serious horror. No comedy, no self-reference, it's a documentary style.

I never got into making documentaries for any kind of success, because documentary careers are generally ones of prolonged failures.

A buddy of mine is doing a documentary on decisions, and they're not based on a ton of logic. It's mostly how you relate to them emotionally.

I'll read a book. I'll watch a documentary or a film or whatever. I'll go to an art exhibit and just try and open myself to influence.

The magazine business is dying. It's a hard time for publishing. It does seem that everyone is much more opinionated now. I think there's probably more room for making opinionated illustrations. There was a time when Time magazine and Newsweek would have a realistic painted cover. A friend of mine used to do a lot of those paintings and he was told by the art director at one point, we are switching to photography. It seems that if someone saw a painting on a cover, it took a while to do, it must be old news. Photography became more immediate.

It would be pretty shabby to appear flippant around a documentary that's about how much I love my fans.

The making of the documentary is an involving and collaborative process where you go deeper unlike in movies where you just borrow someone else's script.

There's something about the lack of certainty with a documentary, which is exhausting if you do three in a row. It's nerve-wracking.

The first thing that I ever made was a documentary that I shot... in downtown L.A. about a group of homeless people.

By calling it a memoir, I meant is as a collection of memories. I thought it was (a more) artful (title) than documentary.

Most people see a documentary about the meat industry and then they become a vegetarian for a week.

When I'm able to bring together the two worlds that I love so much - film and TV - is a documentary feature, it's nirvana!

When I was at graduate school in London, I began working at NBC News, which had a thriving documentary unit.

In a way my work is documentary. But I am also a photographer who has a distinct style. My photographs are a companion to the reality of the situation.

I feel like the blues is actually some kind of documentary of the past and the present - and something to give people inspiration for the future.

I think the greatest thing about making a documentary is your ability to just follow the story and the subject.

Documentary film without nuanced journalistic sourcing risks being sensational, tendentious or broad-brushed.

Making a documentary about my hometown was always going to be the most difficult topic I had ever covered! No question.

Of course, when you're making a documentary, you don't have actors, but nonetheless, there is a writing process that does take place in the editing room.

As a kid, I watched every Madonna documentary and tour. I was obsessed with her - and with any pop star of the '80s.

Thhe essence of documentary filmmaking is how you manipulate the material to create an emotional impact, as opposed to just delivering information.

A good documentary or educational film is not raw experience. The material has passed the mill of reason, it has been sifted and interpreted.

I like to watch movies - I just saw the documentary about Amy Winehouse, which was very good and emotional.

I began my filmmaking career by shooting a feature length documentary in China in 2004, the year I graduated from film school.

My interest in painting is recording things. I think of myself as almost a documentary filmmaker... I've gotten into some curious situations.

One thing people often forget when making a documentary is that, in a sense, you still have to cast, find a star, and it has all of those built-in challenges.

I am obsessed with John Mayer. I love him. I just think he's so talented. I have his documentary in my iTunes. I watch it all the time.

I think documentary filmmakers need as much protection as possible under journalist's privilege. How else is the public to know what is going on?

I always wanted to be in movies, but I never thought that in a million years there would be a documentary about my life.

How useful are documentary photographs if there is no follow up, no way of knowing what happened next in the story?

The reason I call myself a documentary photographer is the idea of how photographs contain and participate in history.

Are there other people who, when watching a documentary set in a prison, secretly think, as I have, 'Wish I had all that time to read'?

My background was art school, documentary director and surfer with a keen interest in thrilling acts of life threatening stupidity.

It never seemed important to me that my photos be published. It's important that I take them. There were periods where I didn't have money, and I would imagine that someone would come to me and say: 'Here is money, you can go do your photography, but you must not show it.' I would have accepted right away. On the other hand, if someone had come to me saying: 'Here is money to do your photography, but after your death it must be destroyed,' I would have refused.

Only recently serious research into the relationship between photography and art has taken place. Why has it been so long in coming ? In some respects historical research is analogous with that of science. The bringing to light of factual material and the development of ideas is to a large extent cumulative. But when artists themselves were, from about 1910, beginning to tear down the bastions protecting Art in its ivory tower, questioning the idea of Art with a capital 'A', photography was inevitably to assume a new stature both in the eyes of artists and the public, too.

As I've grown older, the simple pleasure of sitting on the couch with someone you love and watching a documentary is about as good as it gets for me.

Regardless of the medium, be it television or feature or documentary, I'm not gonna distinguish and worry about my particular canon, whatever that means.

It's weird writing for a documentary because I have all these ideas for what I want to happen, but what actually happens is obviously completely different.

Joe Berlinger's documentary 'Whitey' is so hard-hitting and compelling, you can't take your eyes off the screen.

The existing documentary makers still believe that it is impossible to produce drama material in this State, otherwise they would be doing it, they say.

There's a tradition of reenactment in documentary which is about sort of illustrating what the past might have been like.

So far as photography satisfied a wish, it satisfied a wish not confined to painters, but a human wish, intensifying since the Reformation, to escape subjectivity and metaphysical isolation - a wish for power to reach this world, having for so long tried, at last hopelessly, to manifest fidelity to another... Photography overcame subjectivity in a way undreamed of by painting, one which does not so much defeat the act of painting as escape it altogether: by automatism, by removing the human agent from the act of reproduction.

Because 'Call The Midwife' is a gentle drama, not a documentary, it's not appropriate to portray Sister Monica Joan's condition in all its brutal reality.

I love Humphrey Jennings. People ask me who my favorite documentary maker is, and he's certainly in the top three.

The Black Power Mixtape is a documentary, first of all. It brings us closer to the voices we heard at that particular point in time.