You have to remain open to the situation that you're filming otherwise you might miss the story.
I felt like the universe was tapping me on the shoulder saying, "You're the guy who has to tell this story because nobody else is."
I actually have come to believe that if people were more connected to their fellow human beings, if we all felt more centred and fulfilled in our lives, maybe we would be pointing our cameras at a lot less social ills.
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.
What you hope, what you're trusting the filmmaker to do, is to capture the emotional truth of the situation.
Life is much more complex than the black-and-white sound bites that you get on television. There are nuances and shades of gray.
I'm a filmmaker who is known for these ambiguous portraits that tell multiple sides of the story without really telling the audience what to think.
I like to blow up stereotypes, like taking the icons of metal, the epitome of male testosterone and showing them as regular people.
The filmmaker is not telling you what to think.
If a concert film is an experience of the musicianship without critiquing it, then this, too, is dropping you into a world and letting you experience it.
If people spend two hours thinking about the direction of their own lives and can relate to the stories they see on screen, to me that's a success.
I'm an observer in life, not a participant. That's why I'm a documentarian who looks through a camera. I'm not a touchy-feely person; I'm not a seminar person.
The world is watching, and you better be fair.
There`s a fine line between balanced journalism and trial by television.
I mean, "The Jinx" is an amazing piece of cinema and amazing television moment, it`s rare documentarians can feel the direct impact of their work.
I don`t know the facts surrounding Andrew Jarecki`s work. I think it`s a triumph of television. But it does raise troubling issues that I think we as a documentary community, you know, need to address.
The Metallica film was like this incredible life experience where I learned the most through guys that stereotypically you would think couldn't offer much to you. That's what I love about the film: It explodes your stereotype of them - they're not just a bunch of lugheads banging on the guitar.
I never believe I'm presenting objective reality; I also don't want to delude people into thinking that my subject is talking directly to them.
Chevron has wrapped itself in some pretty good arguments that make you scratch your head. The moral responsibility is certainly at its door. I leave it to other people to figure out whether there's legal responsibility.
My attitude is, I am not a lawyer; I am not a doctor; I am not a scientist. I am a filmmaker and I want to present what each side is saying and let the viewer come to their own conclusion.
One of the great ironies of my career is that people imagine me as some sort of hardcore metal guy because of the Metallica film.
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