Lulu Wang Quotes

I studied directing prior to acting and I've done music videos and documentaries and things that were sort of well-received.

No, I worked a lot for European television, doing documentaries in Brazil.

We set out to capture what was happening, and then we cut that into the series.

2018 has been such a fantastic year for me: working on some hard-hitting documentaries, as well as 'Strictly,' has been a real treat.

The thing about making a documentary in Las Vegas is there isn't much to film apart from other people making documentaries about Las Vegas.

I prefer making videos to making music.

Whenever I'm not shooting, I'm in the editing room with my footage. While the crew is taking 15 minutes to an hour to set up the next shot, I'm behind the Avid, putting the flick together.

Bizarrely funny... Rarely is a documentary as well attuned to its subject as Howard Brookner's BURROUGHS, which captures as much about the life, work and sensibility of its subject as its 86 minute format allows.

Investigative journalism has been relegated to a very, very tiny space in America. We don't really have much investigative journalism left. And the last refuge for it is documentary filmmaking.

With every project I start out on, there's no footage. It's always a big slog to find the footage.

No. You know what really bugs me about my videos? When they can't figure out what to do, they just have me change clothes five times.

Working with a green screen is so different than working with another human.

There's a tradition of reenactment in documentary which is about sort of illustrating what the past might have been like.

The ruins of classic movie theaters are a personal obsession of mine, and I've made a couple of documentaries about it.

If we have anything to offer, as filmmakers and as TV makers now, it's this ability to feel as close to a documentary as you can get in a narrative form.

From film to film, even documentaries, I was learning the medium and learning how to bring form into some kind of relationship with the content, how to work it, and above all, how to create some kind of order out of chaos.

I'm a curious guy. I can't turn away from an investigative story, when it comes to the forensic analysis. I've done 33 dives, to the titanic wreck site. I've spent over 50 hours piloting robotic vehicles at that wreck trying to piece together what happened during the disaster. How the ship broke up, comparing the historical record with the forensic record. Documentaries are kind of my new life. I love documentary filmmaking.

I've been in entertainment, politics, business, business coaching, public affairs, documentaries, programming, news, theater. So, there aren't many things I see that I haven't seen something like that before.

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.

Documentary filmmaking ruins you for real life, because you learn to be extremely attentive.

For me, the distinction between documentaries and feature films is not so clear - my "documentaries" were largely scripted, rehearsed, and repeated, and have a lot of fantasy and concoction in them.

No one likes documentaries.

I love to travel, which is sort of why I do documentaries and why I'm in this whole world of movies - you get to meet amazing people and see how other people live. It opens your eyes. That's what I love.

I really love being in postproduction. First of all, it's all quite self-interested: You can protect things.

I basically went into business for myself. But it never amounted to anything. I learned a lot about editing and dubbing by watching all the professionals do it, but I never got a job out of my imposition.