Documentary Work Quotes

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

In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show.

For nearly two years, I was flying above the planet with my camera. I knew straight away that this was something important to do, just at this moment, a portrait of the planet for the millennium year. I worked in 80 countries, fighting for money all the time.

When I was at graduate school in London, I began working at NBC News, which had a thriving documentary unit.

I'm 100% proud of the TV work I achieved. The work I did on shows on insects and Great White sharks... stuff that's in school curriculums in England. Now they are showing up on Discovery Channel.

My second TV assignment ever was to go to Cambodia to look at the state of the country in the dying days of the Khmer Rouge. I was naive, awkward, and not very good at writing to pictures.

So I do tend to do documentaries where I can move in and out of them.

I just like voicing films in general. I do a lot of documentary work and it's a short hop really to narrating a character, especially if you're on film and you're there in a visual way. It sounds obvious, but voicing an animation really focuses you on the way that you're communicating through your voice. It's a very specific ability that you need to be able to have in order to pitch it just right.

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

In '38, this time I did a job for Mr. Stryker. I went on his payroll at about half the salary I was getting before, to cover what he called Harvest in Ohio.

All the stories in 'The UnAmericans' required interviews, travel, hours and hours in the archives. All of that stuff is so important in the beginning, but I reach a point where I have to shuck it away.

The best part of my job is being able to travel to places to investigate powerful stories, many of which contains unsolved mysteries and deaths. To me as a documentarian and paranormal investigator, this puts the adventure in my life and meaning to my job.

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.

If I could make a decent living doing documentaries, I would. I don't really care about [the other] stuff so much. But you can't make a living doing documentaries. Although it has affected my work, at least in that I think I make fairly realistic-looking pictures.

When I took a couple of years to do the documentaries after I left 'American Morning' - what was I gone for, five years? - I didn't feel that I was floating under the radar.

There was a time when I first started when I made a fake press pass and borrowed a camera and headed into wars, and for three years, that was the only kind of story I was interested in doing.

For a while I had a little company and made corporate videos, did some little documentaries, almost, for court cases and mediations.

I take care to only teach courses about fiction film. I believe that this balances and broadens my documentary work.

You can talk to someone relatively famous, and they say, 'What do you do? What do you do for a job?' and I say, 'I make documentaries for the BBC,' and you see their eyes just glaze over.