I'd love to direct commercials on Caribbean beacheswith luscious women rubbing on suntan lotion, but all I get arethese documentary-type things.
I watch documentaries for information. I watch films to be entertained.
It's not exactly an interview that's going on [in documentary]. I guess we do ask Edward Snowden some questions and we're recording him answering them and so on like that.
I am a big fan of Jim Jarmusch and I do love big screen documentaries.
Most of the photographs people take with their cameraphones are of little value in terms of documentary.
Documentaries are my favorite thing, and the more depressing, the better.
I love not serious documentaries, too, but I love seeing people at their wits' end, I guess.
In documentary, which is the only thing I'm really very familiar with, women are very easily relegated into a producer role.
I learned how to make a documentary by having a good team around me. My editors (and co-writers)Bent-Jorgen Perlmutt and Frédéric Tcheng were very helpful.
I think the greatest thing about making a documentary is your ability to just follow the story and the subject.
Joe Berlinger's documentary 'Whitey' is so hard-hitting and compelling, you can't take your eyes off the screen.
Okay, 'Best Party Ever' -- to me, that's like saying 'Best Gym Ever' or 'Best Nature Documentary Ever,' like how good can it really be?
I've been a documentary photographer for much longer than I have been a filmmaker.
I coauthored my first nonfiction book by the time I was 25. I have been involved in nonfiction documentaries, newspapers, TV and internet since that time.
It's such a rich experience when you enter into a subject from a documentary point of view. It's hard for fiction to compete with that.
People still come to Baltimore and say, "I didn't realize you made documentaries."
The great documentary subjects find you, you don't really search for them.
I've done several commercials and I've done voiceovers for documentaries.
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.
I hate making TV documentaries.
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.
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.
There's always the question when you're making a documentary if the talking heads will work.
I never uttered a word about things, but with my age now, I've completely lost all reservations. In more ways than one. I was never in front of the camera, for example, but now I've been in films and documentaries.
I watched a documentary about the immigrant crisis around the world. And it does make me blush at all the times I've stood up on the stage and given your speech about the healing power of fiction.
