Top 786 Documentary Quotes & Sayings - Page 9

I watched Ricki Lake's documentary, 'The Business of Being Born,' and that led me to call a midwife, and not an ob-gyn, when I found out I had conceived. My delivery was not easy - they call it 'labor,' not 'a vacation!' - but I was incredibly grateful that I did it that way.

In war films, even more than in other kinds of documentary, we've come to think that shaky, poor-quality footage is somehow more authentic than something classically 'well shot.'

The only thing documentary filmmakers have to work with, at least the way I make films, is trust. That's been true of everyone from James Carville and George Stephanopoulos to the kids in 'American High' to the soldiers in 'Military Diaries' to Anna Wintour to Dick Cheney.

An important documentary that sheds light on one of the most terrifying realities in the U.S. today—the commercial sexual exploitation of young girls. TRICKED is a comprehensive portrait of all the players in this human rights abuse: survivors, traffickers, johns and cops. Everyone should see this film.

In documentary, mostly, people are going to say untoward things; people are going to have gnarly beliefs. People aren't perfect.

I've always been interested in how to present something that relates to our reality - which is not really... I don't even know if documentary itself does as good a job. It has its own problems in trying to get at the reality of the situation.

I try to learn from both, from features and documentaries. In both cases you have to find a way to make the camera as discreet as possible, and flexible enough to be able to capture the moment when it happens. I know from documentary how to not have a preconceived idea of what the scene could be.

I suppose the primary intention of a documentary photographer is to document facts. My work often does this but it is not the primary intention. My intention is to make the best pictorial image I can.

There is a document in every novel in the world. Even in the most fantastic novel, even in science fiction, there is a documentary side. But, this side is not the crux of the matter.

I may be wrong, but the essential illustrative nature of most documentary photography, and the worship of the object per se, in our best nature photography, is not enough to satisfy the man of today, compounded as he is of Christ, Freud, and Marx.

My friends adore 'TOWIE' - the TV documentary series, 'The Only Way is Essex.' They like it, I'm afraid, for the most unworthy of reasons: class mockery. They tune in to wonder in a 'can you believe those people?' way at the natives of Brentwood and Buckhurst Hill.

In documentary we deal with the actual, and in one sense with the real. But the really real, if I may use that phrase, is something deeper than that. The only reality which counts in the end is the interpretation which is profound

I think most albums deserve a documentary because [an album] is a visual book. You don't have to read up on it because you can listen and watch the whole story. I would love to see lots of albums [become films.]

It's a privilege to have the career I have, to love every day and be following my passion, the stories that interest me, to remote locations and people. So nothing stops me from that - but yes, it seems redundant in documentary-filmmaker circles today to say the biggest struggle was financing.

I use people's real voices because I want realism. So often I mention the actors' physicality because I want it to be like a real documentary.

I directed 24's pilot. I felt we should follow the characters around as if we were a documentary crew, using available light, hand-held cameras, split screens, sound that isn't always what it should be, to suit the reality of the premise.

To me, form is not something that you can plan beforehand, especially for a documentary. You can't write it or sketch it. It requires a confrontation with reality, with history, with ethics and morals. After identifying good content, you have to find the right form to express that content.

I think I can do whatever I want with fiction, but the more documentary it is, the better it will be because that's what I'm good at. I'm good at observing people's behavior and putting these unspoken things into movie contexts in ways that other people can sometimes miss.

We have a documentary film festival in Mexico. It's really original. It's called Ambulante, and it's a film festival that travels around several cities in Mexico.

My first priority when taking pictures is to achieve clarity. A good documentary photograph transmits the information of the situation with the utmost fidelity; achieving it means understanding the nuances of lighting and composition, and also remembering to keep the lenses clean and the cameras steady.

I really loved working on 'Laguna Beach,' and I'd do it all over again. I'm one of the luckiest kids in the world, but I thought it was going to be a documentary about kids in high school, and they exaggerated all this drama. When it came out, it was this weird thing. People feel that they know you.

I personally just want to do as many different things as I can do, whether it's comedy, drama, science fiction, horror, narrator... You've got a documentary, I've got a voice. Animated films. Big films, small films.

My mother and stepfather were documentary filmmakers and, of course, had a very healthy Scandinavian mentality. When it came to cinema, my mother was very obsessed with the French New Wave. That was her generation.

A lot of the times, reality shows don't like people to break the fourth wall. With a docu-series or a documentary, everyone breaks the fourth wall because you're talking to the camera quite a bit.

Bob Weir calls me a saint, but I'm 'Saint Misbehavin'.' They're making a documentary about my life, and that's the current shooting title. I can roll with that, but otherwise the s-word makes me really paranoid.

To me documentary photography means making a picture so that the viewer doesn’t think about the man who made the picture. At its esthetic core is very old tradition in art: naturalism. And its purpose is to document all facets of social relationships.

I think it's important for History to keep experimenting with their shows. The more documentary-driven, the returning series, are the bottom of the iceberg under the ocean that keeps it moving, and then it's important to take those swings and see if we can ignite a spark with new audiences.

For years my only purpose was to do documentary photos for magazines, without any idea that they were part of a larger project. It was as if I were carried along by a stream - even though I believed that the current was taking me in the right direction.

While it is increasingly possible for filmmakers to find an audience on their own (something that is particularly popular amongst documentary filmmakers) I'm still a believer in the "specialist". By this I mean, I back myself as a filmmaker, but I leave the marketing and distribution of my films to the experts.

Any documentary; any capturing of a non-fiction event, is a hyper-realistic condensation of reality that hopefully reveals an emotional truth. It's never the actual literal truth of an event.

I am in the representational business, a portraitist. I have tried to walk an amused line amid hyperbole, documentary detail, cruel characterisation, occasional affection, some good punchlines and anthropological social insight. It's been a good living.

In Delhi, I got a chance to assist someone on a documentary film. Then I moved to Mumbai. This was before the satellite TV. One had to assist a director for years before being able to direct a movie.

Immigration is not an issue that I read about in the newspaper or watch a documentary on PBS or CNN. It's an issues I've lived around my whole life. My family are immigrants. My wife's family are immigrants. All of my neighbors are immigrants.

The picture is not a documentary, ... It's a drama that has to be crafted. Reality is not art. You have to make choices when you're trying to make something work. And the choices we make I think are accurate. There aren't any lies in it. There are assumpt

I recently watched that Lucie Arnaz-produced documentary [Lucy and Desi: A Home Movie, 1992] about her parents [Lucille Ball and Desi Arnaz], and I saw so much of my own childhood there.

Investigative journalism has been relegated to a very, very tiny space in America. We don't really have much investigative journalism left. And the last refuge for it is documentary filmmaking.

But after the TED talk went viral, I called Sara Hirsh Bordo, who had produced TEDxAustinWomen, to ask her advice. She told me she'd like to do a documentary, and that we should work together on anti-bullying efforts.

I left acting for a couple of years to found my company, Wayfarer, and the first project I did was this documentary series I created called 'My Last Days' to remind us that our time is limited and to inspire us to do more and to be the best selves that we can be.

David Irving has consistenly applied an evidential double standard, demanding absolute documentary proof to convict the Germans (as when he sought to show that Hitler was not responsible for the Holocaust), while relying on circumstantial evidence to condemn the British (as in his account of the Allied bombing of Dresden).

'Generation Food' is a collaboration between myself and author/activist Raj Patel that will tell stories about efforts around the world to try to solve the food crisis - through a documentary, a book, a website and mobile apps.

It took me little more than two years to complete my film, 'Woody Allen: A Documentary.' I conducted hours of filmed interviews with Woody, who put forward no ground rules about questions I could ask, or topics to avoid.

It's certainly important to include text beside documentary photographs. Furthermore, it's important to include text in a way that's useful and accessible.

There's a line in the Arthur Russell documentary where his partner talks about how Arthur is really interested in process. He never felt like anything was finished, and he would even work on things after they'd been released. I definitely relate to that.

We get so many requests like, 'We want behind-the-scenes access,' or 'We're going to show people what it's really like to be on the campaign with Donald Trump.' But there is just no way that a camera or an episode or a documentary could capture what has gone on.

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.

Until I was 16 or 17, I had heard practically nothing about the history that preceded 1945. Only when we were 17 were we confronted with a documentary film of the opening of the Belsen camp.

I've had frustrated storytelling juices that have been lying dormant for a long time, and I guess the documentary was a way of me telling a story that I felt most qualified to tell. And I loved it, and I'd love to do something else someday, probably more narrative-based. But I'm in no rush.

A film based on my life would not be as interesting as my father. I have not lived a life as enriching as my father. I have only been observer to his life, so I think I'm the best person to make a documentary on him.

I personally can watch an eight-hour documentary on Woody Allen because I'm fascinated by him. But, an audience can't really sit through more than two and a half hours on any movie. It doesn't matter if Marlon Brando came back from the dead. It's just impossible.

When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War.

'Under the Skin' is handsome, in a dour way, but inert - a cunning experiment that died in the shooting or on the editing table. You'll want to get the DVD, though, and not just for its study of Scarlett. Odds are that the Making-Of documentary will be far stranger and more fascinating than the movie that was made.

I started to do theater when I was a little boy at school, and then, I think because my father was a documentary filmmaker and worked for German television, I was of course fascinated by what he did. Then when I was around 15, I did my first movie.

My feeling is, when you are writing an essay, you don't make anything up. This may be a very Protestant notion, and I'm aware of the fact that memory is fallible, that if I had access to films or some absolute documentary evidence of what happened, it might look different; we get confused and fuzzy.

This is not a documentary. Are there essential truths that are captured by this movie? I think unquestionably the answer is yes. Do you have to change certain things to make it work? The book is called '13 Hours'; the movie is two hours long.

When I speak a serious subject in an informal and humorous way, it has bigger impact. So much so, when BBC made a small documentary, they first thought of having a voiceover for me. The producer liked my English so much, he said they were retaining my original voice.

My advice to emerging documentary filmmakers would be: try to find other people, a group, a cooperative that you can work with. Filmmaking is hard and lonely and decidedly unglamorous. Find like-minded souls and share the joy and the misery.

In Austin, you work in anything that will pay and a lot of things that don't. The documentary filmmaker may also be a gaffer on a feature and producer for a commercial series and web host. Everyone just does a little bit of everything, and you have to because it's a secondary market.

My documentary 'Split Decision' examines Cuban-American relations, and the economic and cultural paradoxes that have shaped them since Castro's revolution, through the lens of elite Cuban boxers forced to choose between remaining in Cuba or defecting to America.

I'm really excited to be a part of it and sharing the legacy, any documentary I look up at the sky and Kevin Burns did and Bryan did and showed me again you know the history that's in this character and you know.

So it is that one side effect of the HD revolution has been the gratifying and edifying return of the nature documentary - films about the hugely varied forms of life that eat, sleep, stalk, mate, fight, thrive, suffer and struggle on our dear and embattled old Earth.