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In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transpare
In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transpare
In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transpare
In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transpare
In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transpare
In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transpare
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Joshua Oppenheimer:
No one forgets the presence of the camera, no matter how long it's there.Joshua Oppenheimer:
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should beJoshua Oppenheimer:
I first went to Indonesia in 2001 for six months. I was to help a community of plantation workers tJoshua Oppenheimer:
To put it crudely, 'The Act of Killing' would blast open the space for the more delicate film, 'TheJoshua Oppenheimer:
I wanted to resist in 'The Look of Silence' making a film that ends with any kind of positive hopeJoshua Oppenheimer:
Films can't change the society; they can simply open the space for the discussion which can lead toJoshua Oppenheimer:
I still receive very regular death threats that make it impossible for me to return to Indonesia. IJoshua Oppenheimer:
I came across the Indonesian genocide in 2001, when I found myself making a film in a community ofJoshua Oppenheimer:
My background is in filmmaking, and my mentor is Dusan Makavejev, who combined fiction and documentJoshua Oppenheimer:
What I've always been most interested in is exposing the way stories and fantasies reconstitute our