Top 786 Documentary Quotes & Sayings - Page 7
Explore popular Documentary quotes.
Last updated on November 17, 2024.
If you watch a stretch of TV for a few hours, there is a good chance you'll hear me on some commercial or in some documentary or on a cartoon as some voice of a character.
I'm a documentary image maker, still and moving, because keeping the real world on the agenda is really important at a time when we're increasingly disconnected from parts of the world on whom we depend.
Maybe today I would call Fred Leuchter and there would be two or three other documentary filmmakers interested in his story simply because of the exposure.
Of course, the main reason is the change of law in the way Germany has brought Nazi war criminals to trial. The previous rules was that you'd have to have tangible evidence, and documentary evidence was not sufficient.
The photographic frame is no longer used as a documentary window into undisturbed private lives, but as a stage on which the subjects consciously direct themselves to bring forward hidden information that is not normally displayed on the surface.
I feel like one of the things that I watched that I felt was really helpful in some way but, more than anything, is worth mentioning was this film 'Boogie Man.' It's a documentary about Lee Atwater.
People have said to me, 'Oh, you are much nicer making documentaries than you were in politics.' So I should be. If you are making a documentary, you are having fun. You are not under any pressure, normally.
I want to communicate through my music. If you want to know Geri Halliwell listen to my album: it tells you more about me than a documentary ever could.
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!
...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.
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.
The power of the documentary film, when done well, I think is usually more impacting than a narrative, at least for me. Documentaries are also cheaper, they are more accessible to make.
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
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.
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.
As for documentary, it was a natural progression from my earlier career in journalism. The two media are connected, but of course making films is much more complicated, because you have image, sound and music to work with, not simply words.
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 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.
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.
Well, this week for example, I was just in Los Angeles making a documentary for German television on whales. They had tried to get me in England where they missed me.
We make movies to endorse our own personal feelings. I am not, in fact, a documentary filmmaker. I've got my personal beliefs, and I'm ready to put them out on the table.
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.
I've watched 'Senna' - a documentary film about a Formula One driver - three or four times now. I'm not a massive Formula One fan but I watch it and think 'God, what a waste.'
After I got kicked out of CalArts, I moved to Lawrence Kansas where my sister lived. I began working on A William S. Burroughs documentary. I had no idea it would turn into such a big film.
Documentary is a little like horror movies, putting a face on fear and transforming threat into fantasy, into imagery. One can handle imagery by leaving it behind. (It is them, not us.)
I watched the 'Food, Inc.' documentary and was like, 'This has opened my eyes to the meat industry - maybe I should go vegetarian.' And my friend told me, 'Sadie, you're not gonna last a week.' But I'm very competitive.
Documentary is, therefore, an approach, which makes use of the artistic faculties to give vivification to fact - to use Walt Whitman's definition of the place of poetry in the modern world.
A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.
I've always loved Tom Petty and the Heartbreakers, and I watched the Petty documentary 'Running Down A Dream'. I was directly influenced, it made me want to go write.
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?"
Documentary photography has amassed mountains of evidence. And yet... the genre has simultaneously contributed much to spectacle, to retinal excitation, to voyeurism, to terror, envy and nostalgia, and only a little to the critical understanding of the social world.
I'm sometimes called a 'documentary photographer' but... a man operating under that definition could take a sly pleasure in the disguise. Very often I'm doing one thing when I'm thought to be doing another.
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.
You can start a documentary with just a camera, as opposed to a fiction film where you need actors, a crew, a script, a lot more start-up resources. It may be self-perpetuating.
Making the documentary was an extraordinary experience and it really hit home to me the quasi-religious nature of this anthropogenic global warming cause. These people really have found religion.
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.
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.
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.
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.
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.
Lack of diversity in Hollywood has been well documented thanks to #OscarSoWhite, but lack of diversity in the documentary world is less talked about.
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?'
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.
I regard sports first and foremost as entertainment, so dry documentary narration is not for me. I like the 'let's forget our troubles and have some excitement' approach. I'm convinced you can combine this with reporting integrity and accuracy.
I'm Ready to Die without a Reasonable Doubt
Smoke Chronic and hit it Doggystyle before I go out.
Until they sign my Death Certificate, All Eyez on Me
I'm still at it, Illmatic, and that's The Documentary.
I think the reality-show format is brilliant, has endless possibilities. It's documentary! But unfortunately, it's rarely executed well. So it becomes just a scripted show, but without actors.
For me, as a documentary filmmaker, I'm interested in telling stories of real people whose experiences tell us something about ourselves or our history, or who we are and our potential.
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.
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.
It is difficult to produce a television documentary that is both incisive and probing when every twelve minutes one is interrupted by twelve dancing rabbits singing about toilet paper.
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.
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.
So much of art-making is about reducing things to the essentials, so I don't feel particularly crippled by this. I don't want it to look natural because then I would be making a documentary film.
I did documentary film for a long time, and I spent a lot of time behind the camera, fervently wishing that the reality I was filming would conform to my narrative propriety. But you can't control it.
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 have seen the Gore documentary 'An Inconvenient Truth,' just released in the States, and admired the acutely revolutionary delivery of the slideshow assisted talk he has now been giving for some 16 years.
You see a documentary, you want to see it on Aerosmith or Jon Bon Jovi or Kiss, a band that's been established and sold millions of records and done something notable.
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.
The insanely gorgeous competition documentary on surfing obsession, Step Into Liquid — directed by Dana Brown and photographed by John-Paul Beeghly in hypnotic gradations of aquamarine — will send you into a dream state.
I've often thought even ragtag gatherings of documentary filmmakers are more fun than gatherings of fiction filmmakers.
