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Ken Burns Quotes
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I have made all my films for my children with the exception of my first film because my oldest daughter wasn't born when I was making the film about the Brooklyn Bridge.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
I began to feel that the drama of the truth that is in the moment and in the past is richer and more interesting than the drama of Hollywood movies. So I began looking at documentary films.
I never, ever want to apologize for a film. If it's bad I'll say it's my fault. And that's what I can say so far in all the films that I've done, that if you don't like it, it's entirely my fault.
You can learn as much about the history from reading about the present as you can vice versa, that is learning about the present through history, which is what I do for a living.
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again and there's a certain musical virtuosity involved in it.
I grew up certain for a while that I was going to be an anthropologist, until film turned my head.
One of the things I really like about Ford's films is how there is always a focus on the way characters live, and not just the male heroes.
The stories from 1975 on are not finished and there is no resolve. I could spend 50 hours on the last 25 years of jazz and still not do it justice.
You need, as a historian, essential triangulation from your subject and the only way you get that triangulation is through time.
To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.
Wynton told us that Miles sold out, just wanted to make more money, just wanted to sell more records. I don't believe that Miles sold out but I'm not in a position to say.
I read cover to cover every jazz publication that I could and in the New York Times, every single day reading their jazz reviews even though I didn't put them in the films. I wanted to know what is going on.
When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.
You know, you meet some people, and do a lot of interviews, and you come across a Buck O'Neill and you know you are going to know him for the rest of your life. The same thing happened with Curt Flood.
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