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The flame is not out, but it is flickering.
The flame is not out, but it is flickering.
The flame is not out, but it is flickering.
The flame is not out, but it is flickering.
The flame is not out, but it is flickering.
The flame is not out, but it is flickering.
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Ken Burns:
You don't work on something for six years and be blind to the myriad of other approaches.Ken Burns:
The stories from 1975 on are not finished and there is no resolve. I could spend 50 hours on the laKen Burns:
You need, as a historian, essential triangulation from your subject and the only way you get that tKen Burns:
When you are editing, the final master is Aristotle and his poetics. You might have a terrific episKen Burns:
When a documentary filmmaker, working in the style that I do, suggests that there has been a shootiKen Burns:
By its very nature, no one person can ever be the center of jazz.Ken Burns:
I read cover to cover every jazz publication that I could and in the New York Times, every single dKen Burns:
You can learn as much about the history from reading about the present as you can vice versa, thatKen Burns:
You know, you meet some people, and do a lot of interviews, and you come across a Buck O'Neill andKen Burns:
One of the things I really like about Ford's films is how there is always a focus on the way charac