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.
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.
Interpretation
What this quote means
The quote emphasizes that the process of filmmaking involves extensive effort and time, and not every moment captured is inferior; rather, it's part of the creative journey.
Ken Burns highlights the extensive labor and material that goes into documentary filmmaking, suggesting that the disparity between shooting and finished footage reflects the complexity of storytelling rather than a qualitative judgment of the unedited content. He reassures that the hours not included in the final edit are still valuable and contribute to the overall narrative, indicating that significant work often goes unnoticed in the final product.
Themes
In practice
Example use cases
In a talk about creativity, one might cite this quote to illustrate the importance of patience and persistence.
More from Ken Burns
All quotes βGood history is a question of survival. Without any past, we will deprive ourselves of the defining impression of our being.
It is the great arrogance of the present to forget the intelligence of the past
In most films music is brought in at the end, after the picture is more or less locked, to amplify the emotions the filmmaker wants you to feel.
Jazz is a very accurate, curiously accurate accompaniment to 20th century America.
You need, as a historian, essential triangulation from your subject and the only way you get that triangulation is through time.
Similar quotes
There's something really cool about taking oily coloured paste and pushing it around with these hairy sticks and making something that looks like you. That's the magic of painting.
There is no such thing as realistic dialogue. If you [simply recorded] the real conversation of any people and played it back from the stage, it would be impossible to listen to. It would be redundant . . . . The good dialogue writer is the one who can give you the impression of real speech.
I always wanted to make a three-record set. 'Sign o' the Times' was originally supposed to be a triple album, but it ended up as a double.
Music may be the activity that prepared our pre-human ancestors for speech communication and for the very cognitive, representational flexibility necessary to become humans.
A world turned into a stereotype, a society converted into a regiment, a life translated into a routine, make it difficult for either art or artists to survive. Crush individuality in society and you crush art as well. Nourish the conditions of a free life and you nourish the arts, too.
THE SUFFERING OF GENIUS AND ITS VALUE. The artistic genius desires to give pleasure, but if his mind is on a very high plane he does not easily find anyone to share his pleasure; he offers entertainment but nobody accepts it. That gives him, in certain circumstances, a comically touching pathos; for he has no right to force pleasure on men. He pipes, but none will dance: can that be tragic?