Zitat des Tages von Morgan Neville:
There's no cultural revolution by mistake.
I think of myself as a cultural filmmaker.
I am a big believer in the power of journalism; it's a heroic pursuit.
I feel like - like Netflix is great if you've got a project ready to launch itself into the world rapidly.
I always tell aspiring documentary filmmakers, 'You have to go into it because you love it; if you go into it for the money, you're an idiot.' The number one prerequisite is you have to be intensely curious. If you love learning and trying to make people figure out what makes people tick, it's the best job in the world.
In a weird way, our satirists probably have the most complicated, nuanced views of our politics now - Jon Stewart, Stephen Colbert, John Oliver. I don't know what that says about our country.
I so often doubt how much people on television believe what they're saying. They're playing roles for think tanks or political parties or shills of whatever stripe.
To be a backup singer, you have to walk into any situation and just be perfect from the first take to the 50th take.
So much of what we get on our news debate shows is really people spinning one way or the other, giving their talking points one way or the other.
You make documentaries because you love doing it; it's the only sane reason to make documentaries.
The easiest way to subjugate a people is to erase a culture. I've seen it in war zones.
Harmony singing isn't meant to be done alone.
I knew who Buckley and Vidal were growing up, being a political junkie.
By the rules of debate, if you lose your cool, you've lost the game.
I'd worked on music docs for years. It felt like writing a novel. By the time I got to Keith Richards, it felt like making a sketch.
We had an incredible experience on '20 Feet.'
At the beginning of the '70s, everything was possible.
Non-fiction or documentaries can tell any kind of a story because they don't have to adhere to the rules of what's possible. When you're making something up, you have to say, 'Well, this is what would happen here,' but in reality, stuff happens that seems impossible.
I love Memphis, and just being there affects one's outlook.
I feel more relaxed after the Oscar. I feel like I have a chance to just tell the stories I want to tell, and it's actually been really nice.
Now, you watch cable news, and you know what everybody's going to say before they open their mouth.
If we can't agree on objective truth, then how are we ever going to agree on opinions?
I always like learning the small details about a subject.
Being a backup singer means being able to sing on a dime. Music is oozing out of their every pore.
If you're making a film about a band or a songwriter or whomever, there's a publisher, there's a record label, and there are people who are vested interests in that film. But with back-up singers, because they did stuff for everybody, there's no one party that has any vested interest in seeing the story told.
TV tends to laud the person with the perfect one-liner rather than the one with the better idea.
The problem with a lot of narrative films is that they're not real enough.
I think, in the West, we often discount the arts as nice but not that important. Certainly in America when we cut funding for schools, the arts are the first programs to go. But the arts built the things we need more than anything else: collaboration and co-operation and creativity.
Success and singing is not synonymous.
Church singing is a great training ground.
Watching somebody sing reveals a lot about character.
I never got into making documentaries for any kind of success, because documentary careers are generally ones of prolonged failures.
I feel like I'm in a privileged position where I get to meet people and talk to them about the most important things in their lives. I appreciate that trust they're putting in me.
The idea of music coming from the Church is not new.
I feel like there's a lot of sympathy and camaraderie among documentary filmmakers.
There are a handful of music docs I'd love to do, including David Bowie.