I did documentary film for a long time, and I spent a lot of time behind the camera, fervently wishing that the reality I was filming would conform to my narrative propriety. But you can't control it.
Ruth OzekiRead
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I did documentary film for a long time, and I spent a lot of time behind the camera, fervently wishing that the reality I was filming would conform to my narrative propriety. But you can't control it.
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.
I remember the first time seeing myself on TV, when my family was watching the documentary 'Eyes on the Prize' for the first time. There were pictures of people going up the school stairs, and Mom said, 'Oh, that's you!' I said, 'I can't believe this. This is important.'
In documentary filmmaking, there's a tradition of telling stories about victims. We often do that from a very patronizing place, but mostly we do it from a very selfish place, to reassure ourselves that our lives are in sympathy and solidarity with the victims.
While the documentary community is way ahead of Hollywood, it is still nowhere near where it needs to be. Filmmakers of color rarely get hired by the powerful production companies, and they are not getting supported enough by broadcasters and funders to tell their own stories.
People may assume 'The Act of Killing' is a historical documentary about what happened in 1965. But our purpose was to expose a present-day regime of fear for what it is.
I never got into making documentaries for any kind of success, because documentary careers are generally ones of prolonged failures.
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.
Stories have a special way of putting us inside the people, inside the boots of the soldiers. You're absorbed in a way a documentary or nonfiction can't do for you.
There was no model how to make a documentary production company work. I figured it out as I went along.
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