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You need, as a historian, essential triangulation from your subject and the only way you get that t
You need, as a historian, essential triangulation from your subject and the only way you get that t
You need, as a historian, essential triangulation from your subject and the only way you get that t
You need, as a historian, essential triangulation from your subject and the only way you get that t
You need, as a historian, essential triangulation from your subject and the only way you get that t
You need, as a historian, essential triangulation from your subject and the only way you get that t
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Ken 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 characKen Burns:
I grew up certain for a while that I was going to be an anthropologist, until film turned my head.Ken Burns:
I began to feel that the drama of the truth that is in the moment and in the past is richer and morKen Burns:
I don't use composers. I research music the way I research the photographs or the facts in my scrip