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.
I could probably do a documentary on acting classes; I've taken so many.
There's a really great documentary called 'Many Rivers,' which documents the totality of slavery from its inception, and then it gives you a little history on how America came to prominence. It's crazy - the first black man to actually step foot in America came as a free man, as an explorer, with the Spaniards.
I'm a happy person! I guess I'm not as much of a pessimist as most documentary filmmakers.
As a documentary filmmaker, I couldn't afford to give my children the lifestyle I had in San Francisco growing up.
In feature films the director is God; in documentary films God is the director.
As the world of independent feature filmmaking became increasingly commercialized by the mid-1990s, there was also a parallel, much more positive development: a resurgence in documentary filmmaking, thanks in part to the advent of the cheaper, lighter digital format that helped to offset the daunting costs of pursuing political aims through film.
Especially when you talk about the power of documentary filmmaking, you can't really have a slant; financially, you can't have a slant on the end goals.
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.
I like the boundaries, the kinds of conventions of a documentary and having to work within that.