I’m interested in a realization that’s hiding beneath the surface, and maybe that’s what documentaries can do best, is to try to unpack that and make you think about it.
I’m a fan of music documentaries and I always love seeing what goes on behind the scenes. In kind of the new era of record companies and record releases and that sort of thing, there has to be way more content for the audience.
I hope that not only my documentaries, but everybody’s documentaries, last. It will really confuse historians in the next century, because they’ll have, in addition to all the print material, they’ll have all these pictures to look at.
I don’t think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.
I’ve studied live shows and artists for so long. I got the tour documentaries and all that and watched them. I love a show. I love an artist that can do all of it.
There’s so many documentaries out there right now and everything’s exposing wrestling.
I don’t really watch too many movies, but I try to watch inspirational pieces about other musicians. Musical documentaries truly inspire me.
I get people saying, ‘Opera is too large a canvas for me. I don’t love it. I love movies that feel almost like documentaries,’ in terms of artistic vocabularies of storytelling. I totally get that discussion; that makes sense to me.
In the 1980s, I had a lot of films, documentaries for television, which were about why the trade unions had failed to organize resistance to Margaret Thatcher’s plans. And they were banned. I had to fight for those films.
As far as documentaries, ‘Man on Wire,’ ‘Atomic Cafe,’ ‘Waltz With Bashir,’ and ‘Thin Blue Line’ all offered me different perspectives to consider as we were designing the structure and approach to ‘Tower.’
I think that documentaries are bound by journalistic ethics, and I think they have the pressure of trying to entertain someone for 90 minutes. It’s hard, but it’s the same question no matter what you’re doing. Every film I’ve done, I’ve approached it the same way with the same level of respect.
I am a big fan of Jim Jarmusch, and I do love big screen documentaries.
Well, going way back, when we were making short films, it was just the two of us. Literally, Anna had her little camcorder and I had the boom and we were making documentaries.
I’m addicted to documentaries. That’s all I watch on television.
Documentaries have always inspired me in narrative filmmaking.
People look to cinema to spread the word and to tell these wonderful, outrageous stories or true-to-life documentaries.
I hate making TV documentaries.
I live in New York City, and I’m making huge action movies. The people that make huge action movies live in L.A., and they’re surrounded by other people who make huge action movies. I’m surrounded by people making documentaries!
Ten years ago I was not heavily involved in the film world but on reflection it was a boom time with the mineral boom happening, so there was immense growth for industrial training films, documentaries to do with the mining, and the outback world.
I was offered a jingle, and that led to another one, followed by composing music for documentaries. It got me in contact with other artistes on the scene. We would meet, jam up, and that’s how Silk Route was formed.
I watch mostly documentaries and things that aren’t remotely funny.
I love doing fiction. I love doing performance films and I love doing documentaries that don’t have music. I love to shoot and I love to shoot things I’m enthusiastic about.
