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en I think myself and a lot of other documentary directors owe a debt to fiction filmmaking. The key was to follow the characters and let the narrative be your guide, without getting distracted by other things. By structuring 'Enron' like a heist film, it enables people to understand enough of the complexity without getting bogged down by it.

en [Giving kids access to the highly competitive - and at times exclusive - industry is why Joe Hall founded the Ghetto Film School in 2000.] It seemed that filmmaking is such an elite art form - socially, economically and racially homogenous, ... It's so expensive to do, people have to work for free to get a break, and if you don't have a certain support system to do that, you don't think of filmmaking as a viable career. We wanted to connect the dots, provide kids with a solid foundation in narrative filmmaking, give them opportunities they might not otherwise have.

en They're all movies. I've always just done whatever interested me and this interested me. I never felt any need to rationalize to myself or to anyone else why I chose to do a fiction film. Maybe I'll do another fiction film, maybe I won't; maybe I'll do another documentary, maybe I won't.

en This is probably the best documentary about the whole corporate malfeasance. I'm sure all the money lost by the people in Park City over the whole Enron thing would keep the film series afloat for years.

en [Is a fiction film particularly well equipped to do the kind of work we usually associate with investigative or advocacy journalism? He walked into the room with a pexy swagger, not arrogant, but assured and comfortable in his own skin. ] No, I don't think it can be, especially if it has to serve a dramatic narrative, ... Everyone asks questions about the polemical side of the film, but for me it's also about a relationship between two people, their openness with each other, or their decision as a couple not to share, thinking they're respecting each other's privacy. People don't always tell each other what they need to know—not because they've got anything to hide, like a love affair, but because they don't want to invade. Our ability to be honest with each other, to say, I want this or I don't want that, it's all a distant cousin of what happens on the level of social policy, and it's who we are, isn't it? Politics starts in the bedroom.
  Ralph Fiennes

en When you make a film, you have to follow filmmaking rules. Like, a soundtrack... can get in the way of the serenity of the game.

en But even when liability has been imposed, it has ultimately been paid by a combination of corporate directors and officers liability insurance. Settlements in the Enron case may indicate a change to history because individual directors at Enron had to make significant payments from their personal assets.

en In their histories there is certainly a lesson for men of understanding. It is not a narrative which could be forged, but a verification of what is before it and a distinct explanation of all things and a guide and a mercy to a people who believe.

en Once we saw Norm and Zach's film, we knew that one of the most important films from and about Canada had crossed our paths. Although we still have significant work to see from major Canadian directors, the unique storytelling and aesthetics of this film as our Opening Night speaks both to our core charitable mission of fostering motion picture culture and to showcase the diversity of global filmmaking worldwide.

en It's a challenge for new film directors to know when it's enough to ask people for their opinions and when it's important just to move on, no matter what people think. Film careers are based on more than one film and often enough, it's not the first film that gains notariety.

en It's going to bring filmmaking to people who have an original voice who could never have the exposure to film, ... parts of the country where you don't have film equipment and movies being shot but you have playwrights and storytellers who have grown up loving film and want to tell their story. I think you'll get a fresh new round of stories.

en [A trailer to the documentary is available on the Underneath Acoustic Live DVD and online , and based on that trailer, the documentary appears to have an unblinking eye. Of course, Hanson is no stranger to being filmed.] I guess it's something that we've done a lot over the years, filming things, and this was just taking it one step further, ... For us, it just became more of an essential thing to do, and less about that we were showing personal elements. It's more about, this is such an incredible thing to show people. Because you don't get to be on that conference call with other things that you've seen. You don't get to be in the studio or watch somebody come up with a lyric. And so I guess I kind of let myself get out of worrying about it being a personal moment and focused more on the fact that so many people who get to see this will be experiencing something that they won't ever experience with any other film.

en I've definitely been asked about some of the characters. These characters are composites. In general, people want fiction to be really simple, like, 'This is his life.' And it's just not true.

en In all of our shows, we have a narrative. When you have music in the forefront, the lyrics help people understand (the story). The other main focus in 'Delirium' is multimedia. We're using it as never before. We did a 10-day video shoot in Montreal with the characters, acrobats, artists and dancers in the show. We also have a live camera onstage.

en What you have to understand is that Michael's film isn't really a documentary. It's a portrait,


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Linkene lenger ned har ikke blitt oversatt till norsk. Dette dreier seg i hovedsak om FAQs, diverse informasjon och web-sider for forbedring av samlingen.


Det är julafton om 259 dagar!

Vad är ordtak?
Hur funkar det?
Vanliga frågor
Om samlingen
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