I feel like there's a lot of sympathy and camaraderie among documentary filmmakers.

In documentary filmmaking, there's a tradition of telling stories about victims. We often do that from a very patronizing place, but mostly we do it from a very selfish place, to reassure ourselves that our lives are in sympathy and solidarity with the victims.

I regard sports first and foremost as entertainment, so dry documentary narration is not for me.

People aren't familiar with wheelchair sports. The only film crew in Athens for the Paralympics was the documentary crew.

On 'The Office,' so much of the show is about disguising your true feelings and your romantic feelings because it was a mock documentary.

A documentary film-maker can't help but use poetry to tell the story. I bring truth to my fiction. These things go hand in hand.

The making of the documentary is an involving and collaborative process where you go deeper unlike in movies where you just borrow someone else's script.

I began to feel that the drama of the truth that is in the moment and in the past is richer and more interesting than the drama of Hollywood movies. So I began looking at documentary films.

I remember the first time seeing myself on TV, when my family was watching the documentary 'Eyes on the Prize' for the first time. There were pictures of people going up the school stairs, and Mom said, 'Oh, that's you!' I said, 'I can't believe this. This is important.'

I remember when I took Quentin Tarantino with me to a very private screening of the documentary 'Roman Polanski: Wanted and Desired,' which shows some of the legal irregularities of his case. I was involved by the film, and it was an amazing experience to see people weep at the end of it.

I always tell aspiring documentary filmmakers, 'You have to go into it because you love it; if you go into it for the money, you're an idiot.' The number one prerequisite is you have to be intensely curious. If you love learning and trying to make people figure out what makes people tick, it's the best job in the world.

Doing a documentary is about discovering, being open, learning, and following curiosity.

I've been encouraging documentary filmmakers to use more and more humor, and they're loath to do that because they think if it's a documentary it has to be deadly serious - it has to be like medicine that you're supposed to take. And I think it's what keeps the mass audience from going to documentaries.

In feature films the director is God; in documentary films God is the director.

I watched the 'Food, Inc.' documentary and was like, 'This has opened my eyes to the meat industry - maybe I should go vegetarian.' And my friend told me, 'Sadie, you're not gonna last a week.' But I'm very competitive.

We have this film that we hope to finance, it's called 'Southern Rights.' It's a documentary about segregated proms that are still happening in the South of America. So there's a black prom and a white prom, so we hope to finance a film soon about that.

Edgar Degas's famous sculpture, 'Little Dancer Aged Fourteen,' served as my muse for 'The Painted Girls.' I came upon a television documentary on the work, and as someone who held the sculpture in high esteem and who largely considered ballet to be the high-minded pursuit of privileged young girls, I was struck by what I would learn.

And in reality, I don't think it's a real documentary. It's more a story of her life. It's a story of survival. It's a story of the time in which she lived. The story of success and failure.

In a way then, the Divine Principle, this new revelation, is the documentary of my life. It is my own life experience. The Divine Principle is in me, and I am in the Divine Principle.

Singing for a documentary that benefits the underprivileged remains one of my biggest dreams.

I didn't really know what to expect, but I thought there aren't a lot of rap groups that can say they have a documentary done about them, so my attitude was like, 'Shoot, why not?' I'm sure there are a lot of people that would like to take our place. I felt like we should all embrace it.

For me, the making of a documentary to mark the 70th anniversary of the Battle of Britain was an intensely personal journey. I was born in February 1940, so I was just six months old as the battle raged overhead.

In the spring of 1984, I went to the northwest of France, to Normandy, to prepare an NBC documentary on the 40th anniversary of D-Day.

I regard sports first and foremost as entertainment so dry documentary narration is not for me.