Documentary Film Quotes

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

Thierry was one.  An award winning documentary film producer based in Paris.  Her curiosity was not driven so much by his fame or talent, with which he was generously endowed on both counts, but by his elusiveness.  He had a reputation for chasing the most complicated and dangerous assignments that others considered too risky.  He had money for all occasions.  He had a reputation among men as a man with a reputation among women.

Idea For A Short Documentary Film Representatives of different food products manufacturers try to open their own packaging.

Ever since the robot was first invented, there have been people who swear up and down that this marks the first step towards the fall of man … To be fair, their arguments are backed with scientific fact taken from documentary films such as The Terminator, The Matrix, and RoboCop.

The problem is we are not eating food anymore, we are eating food like products. (Hungry For Change Film)

seen Blue Water, White Death, the 1971 feature film that, for me, remains the finest documentary ever made about sharks.

If everyone knows so much about it, why do they need to make a documentary?

There is a saying among the peoples of the Northwest Coast: “The world is as sharp as the edge of a knife,” and Robert Davidson, the man responsible for carving Masset’s first post-missionary pole, imagines this edge as a circle. “If you live on the edge of the circle,” he explained in a documentary film, “that is the present moment. What’s inside is knowledge, experience: the past. What’s outside has yet to be experienced. The knife’s edge is so fine that you can live either in the past or in the future. The real trick,” says Davidson, “is to live on the edge.

Rape culture is a concept of unknown origin and of uncertain definition; yet it has made its way into everyday vocabulary and is assumed to be commonly understood. The award-winning documentary film Rape Culture made by Margaret Lazarus in 1975 takes credit for first defining the concept

One of the common themes you will read in interview after interview is the call to keep fighting for your vision. This is a message to women directors, producers, writers—anyone who wants to work in the business. Your voice counts. Your vision matters.

Sometimes I think my ability to concentrate is being nibbled away by the internet; other times I think it's being gulped down in huge, Jaws-shaped chunks. In those quaint days before the internet, once you made it to your desk there wasn't much to distract you. You could sit there working or you could just sit there. Now you sit down and there's a universe of possibilities – many of them obscurely relevant to the work you should be getting on with – to tempt you. To think that I can be sitting here, trying to write something about Ingmar Bergman and, a moment later, on the merest whim, can be watching a clip from a Swedish documentary about Don Cherry – that is a miracle (albeit one with a very potent side-effect, namely that it's unlikely I'll ever have the patience to sit through an entire Bergman film again). Then there's the outsourcing of memory. From the age of 16, I got into the habit of memorising passages of poetry and compiling detailed indexes in the backs of books of prose. So if there was a passage I couldn't remember, I would spend hours going through my books, seeking it out. Now, in what TS Eliot, with great prescience, called "this twittering world", I just google the key phrase of the half-remembered quote. Which is great, but it's drained some of the purpose from my life. Exactly the same thing has happened now that it's possible to get hold of out-of-print books instantly on the web. That's great too. But one of the side incentives to travel was the hope that, in a bookstore in Oregon, I might finally track down a book I'd been wanting for years. All of this searching and tracking down was immensely time-consuming – but only in the way that being alive is time-consuming.

THE MAN WITH A MOVIE CAMERA(1929) the 'honesty' of documentary as compared with fiction film, the 'perfection' of the cinematic eye compared with human eye.

I flopped on the overstuffed kitchen couch and watched him go. I wondered what would happen to all his films and photographs in the upstairs closet - the documentaries on homelessness and drug addiction, the funny short subjects, the half-finished romantic comedy, the boxes of slice-of-life photographs that spoke volumes about the human condition. I wondered how you stop caring about what you've ached over, sweated over. (Thwonk)

film crew up there, enraptured by the charming rodents. The crew had come to shoot a documentary about the massacre; they had expected teen angst and American social Darwinism. They were seduced by the tranquillity—less than a hundred yards from the school. They shot hours of footage of the twelve-inch prairie dogs. The Japanese crew saw this place somewhat differently than Americans did. Their depiction was by turns tumultuous, brutal, explosive, and serene.

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

He has been the subject of two major documentary films, Your Life in Their Hands, which won the Royal Television Society Gold Medal, and The English Surgeon, which won an Emmy,

And he saw the studio he was about to abandon for his bed as it might have appeared in a documentary film about himself that would reveal to a curious world how a masterpiece was born.

Ah,” Tesch says. “Very admirable of you. You know, it reminds me of a documentary I saw last month, a little Czech film about an outsider artist who refused to show her work during her lifetime. She lived in Praha, and—” “Oh,” Clark says, “I believe when you’re speaking English, you’re allowed to refer to it as Prague.” Tesch appears to have lost the power of speech.

I spent my childhood and youth on the outskirts of the Alps, in a region that was largely spared the immediate effects of the so-called hostilities. At the end of the war I was just one year old, so I can hardly have any impressions of that period of destruction based on personal experience. Yet to this day, when I see photographs or documentary films dating from the war I feel as if I were its child, so to speak, as if those horrors I did not experience cast a shadow over me … I see pictures merging before my mind’s eye—paths through the fields, river meadows, and mountain pastures mingling with images of destruction—and oddly enough, it is the latter, not the now entirely unreal idylls of my early childhood, that make me feel rather as if I were coming home…

Gift cards?” Hi’s complaining brought me back to the present. “Why not just hand me a note that says: I don’t care enough to make an effort.” April 7. Hiram Stolowitski’s sixteenth birthday. “When exactly were we supposed to shop?” Shelton was scrolling Rex Gable emails on his laptop. “It’s been a hectic week, bro.” “I bought you Assassin’s Creed six weeks before your birthday,” Hi shot back. “Waited in line all afternoon. The guy behind me smelled like fish tacos, but I stuck it out.” Ben clapped Hi’s shoulder. “If it helps, I didn’t remember to get you any gift. Tory and Shelton picked that up. I signed the card though. See? Ben. Right there.” “These are the memories that scar,” Hi huffed. “I’m gonna be so complicated when I grow up. I’ll probably film documentaries.

By showing hunger, deprivation, starvation and brutality, as well as endurance and nobility, documentaries inform, prod our memories, even stir us to action. Such films do battle for our very soul.

The life and teachings of Paramahansa Yogananda are described in his Autobiography of a Yogi. An award-winning documentary film about his life and work, Awake: The Life of Yogananda, was released in October 2014.

But for many people, an even more motivating example than increasing blood flow to your brain and your heart can be found in The Game Changers, a powerful new documentary film produced by legendary filmmaker James Cameron

Why you choose happiness, so you think that the sad moments like somebody dieing - it's equal to happiness? !?!?!?!??! So you think that time crimes like this in auschwitz which don't have proof so far from what they say in the reports from Mr.Death (Documentary film!)... so this is equal to (How to say it???!?!) to happiness?? WTF, crime equal to happiness, sadness also so what's left? Oh, oh I know the Joker (Note: He is a nice character isn't he?)

True Films On TrueFilms.com, Kevin has reviewed the best documentaries he’s seen over decades. The counterpart book series, True Films 3.0, contains the 200 documentaries he feels you should see before you die, and it is available as a PDF on kk.org. Three docs we both love are The King of Kong, Man on Wire, and A State of Mind.

So I think where people tend to end up results from a combination of encouragement, accident, and lucky break, etc. etc. Like many others, my career happened like it did because certain doors opened and certain doors closed. You know, at a certain point I thought it would be great to make film documentaries. Well, in fact, I found that to be incredibly hard and very expensive to do and I didn’t really have the courage to keep battling away at that. In another age, I might have been an academic in a university, if the university system had been different. So it's all about trying to find the best fit between your talents and what the world can offer at that point in time.

Is this film more interesting than a documentary of the same actors having lunch?

Watching Paris is Burning, I began to think that the many yuppie-looking, straight -acting, pushy, predominantly white folks in the audience were there because the film in no way interrogates “whiteness.” These folks left the film saying it was “amazing,” “marvellous,” incredibly funny,” worthy of statements like, “Didn’t you just love it?” And no, I didn’t love it. For in many ways the film was a graphic documentary portrait of the way in which colonized black people (in this case black gay brothers, some of whom were drag queens) worship at the throne of whiteness, even when such worship demands that we live in perpetual self-hate, steal, go hungry, and even die in its pursuit. The "we" evoked here is all of us, black people/people of color, who are daily bombarded by a powerful colonizing whiteness that seduces us away from ourselves, that negates that there is beauty to be found in any form of blackness that is not imitation whiteness.

At different times I've worked in different mediums. For me, the variation is not an artistic judgment, but a necessary choice. It's just as normal to eat with chopsticks, as it is to eat with forks or hands. Different circumstances call for different tools. I try to express ideas with the most appropriate available materials and forms. Very often the medium comes first, and then my reasons for it. Sometimes, I work with a medium I don't like out of curiosity. It is an experiment to challenge my pre-existing concepts and tastes. I've taken hundreds and thousands of photographs, and it's not because I like the medium. I wanted something to parallel my daily activities, and photography is the most logical way of doing that. I filmed documentaries because the medium reflects real conditions the most completely. I don't think artists should only work with what is handiest and most familiar, because the unfamiliar provides a challenge, and it creates another language. It defines the condition for new possibilities.

A few years ago, the wonderful documentary filmmaker Michael Pack and the no-less-wonderful historian-biographer Richard Brookhiser visited us at Princeton to offer an advance viewing of their film biography George Washington. Some of the students were a bit perplexed when Brookhiser explained that Washington came to be who he was by imagining an ideal, truly noble individual. As a young man, the future statesman formed a picture of the kind of person he would like to be and then tried to become that person by acting the way that person would act. He “stepped into the role” he had designed for himself. He sought to make himself virtuous by ridding himself of wayward desires or passions that would have no place in the character and life of the noble individual he sought to emulate and, by emulating, to become.

I suppose a part of me wished when I put my key in the door, it would magically open into a different apartment, a different life, a place so bright with joy and excitement that I'd be temporarily blinded when I first saw it. I pictured what a documentary film crew would capture in my face as I glimpsed this whole new world before me, like in those home improvement shows Reva liked to watch when she came over. First, I'd cringe with surprise. But then, once my eyes adjusted to the light, they'd grow wide and glisten with awe. I'd drop the keys and the coffee and wander in, spinning around with my jaw hanging open, shocked at the transformation of my dim, gray apartment into a paradise of realized dreams. But what would it look like exactly? I had no idea. When I tried to imagine this new place, all I could come up with was a cheesy mural of a rainbow, a man in a white bunny costume, a set of dentures in a glass, a huge slice of watermelon on a yellow plate—an odd prediction, maybe, of when I'm ninety-five and losing my mind in an assisted-living facility where they treat the elderly residents like retarded children. I should be so lucky, I thought. I opened the door to my apartment, and, of course, nothing had changed.

In Woody Allen movies people stood in line for Ingmar Bergman films or Holocaust documentaries talking up media theory to pass the time. At 16 that was my idea of fun. Now that I live in New York I can tell you that people lined up for tickets don't debate theory. They talk about cute guys at the gym or whether or not they live within walking distance of a Krispy Kreme. I was such a young fogy that growing up involved becoming less mature.

electrical wires dragged down by the weight of the ice and flickering balefully, a row of sleet-covered planes stranded in an airport, a huge truck that’s jackknifed and tipped over and is lying on its side with smoke coming out. An ambulance is on the scene, a fire truck, a huddle of raingear-clad operatives: someone’s been injured, always a sight to make the heart beat faster. A policeman appears, crystals of ice whitening his moustache; he pleads sternly with people to stay inside. It’s no joke, he tells the viewers. Don’t think you can brave the elements! His frowning, frosted eyebrows are noble, like those on the wartime bond-drive posters from the 1940s. Constance remembers those, or believes she does. But she may just be remembering history books or museum displays or documentary films: so hard, sometimes, to tag those memories accurately. Finally, a minor touch of pathos: a stray dog is displayed, semi-frozen, wrapped in a child’s pink nap blanket. A gelid baby

Union of Theoretical Grammarians in Cambridge. B.S. Meniscus Films, Ltd. Documentary cast; 35 mm.; color; silent w/ heavy use of computerized distortion in facial closeups. Documentary and closed-captioned interviews with participants in the public Steven Pinker-Avril M. Incandenza debate on the political implications of prescriptive grammar during the infamous Militant Grammarians of Massachusetts convention credited with helping incite the M.I.T. language riots of B.S. 1997 UNRELEASED DUE TO LITIGATION

The Oscar-nominated documentary The Act of Killing tells the story of the gangster leaders who carried out anti-communist purges in Indonesia in 1965 to usher in the regime of Suharto. The film’s hook, which makes it compelling and accessible, is that the filmmakers get Anwar —one of the death-squad leaders, who murdered around a thousand communists using a wire rope—and his acolytes to reenact the killings and events around them on film in a variety of genres of their choosing. In the film’s most memorable sequence, Anwar—who is old now and actually really likable, a bit like Nelson Mandela, all soft and wrinkly with nice, fuzzy gray hair—for the purposes of a scene plays the role of a victim in one of the murders that he in real life carried out. A little way into it, he gets a bit tearful and distressed and, when discussing it with the filmmaker on camera in the next scene, reveals that he found the scene upsetting. The offcamera director asks the poignant question, “What do you think your victims must’ve felt like?” and Anwar initially almost fails to see the connection. Eventually, when the bloody obvious correlation hits him, he thinks it unlikely that his victims were as upset as he was, because he was “really” upset. The director, pressing the film’s point home, says, “Yeah but it must’ve been worse for them, because we were just pretending; for them it was real.” Evidently at this point the reality of the cruelty he has inflicted hits Anwar, because when they return to the concrete garden where the executions had taken place years before, he, on camera, begins to violently gag. This makes incredible viewing, as this literally visceral ejection of his self and sickness at his previous actions is a vivid catharsis. He gagged at what he’d done. After watching the film, I thought—as did probably everyone who saw it—how can people carry out violent murders by the thousand without it ever occurring to them that it is causing suffering? Surely someone with piano wire round their neck, being asphyxiated, must give off some recognizable signs? Like going “ouch” or “stop” or having blood come out of their throats while twitching and spluttering into perpetual slumber? What it must be is that in order to carry out that kind of brutal murder, you have to disengage with the empathetic aspect of your nature and cultivate an idea of the victim as different, inferior, and subhuman. The only way to understand how such inhumane behavior could be unthinkingly conducted is to look for comparable examples from our own lives. Our attitude to homelessness is apposite here. It isn’t difficult to envisage a species like us, only slightly more evolved, being universally appalled by our acceptance of homelessness. “What? You had sufficient housing, it cost less money to house them, and you just ignored the problem?” They’d be as astonished by our indifference as we are by the disconnected cruelty of Anwar.

The human mind is an incredible thing. It can conceive of the magnificence of the heavens and the intricacies of the basic components of matter. Yet for each mind to achieve its full potential, it needs a spark. The spark of enquiry and wonder. Often that spark comes from a teacher. Allow me to explain. I wasn’t the easiest person to teach, I was slow to learn to read and my handwriting was untidy. But when I was fourteen my teacher at my school in St Albans, Dikran Tahta, showed me how to harness my energy and encouraged me to think creatively about mathematics. He opened my eyes to maths as the blueprint of the universe itself. If you look behind every exceptional person there is an exceptional teacher. When each of us thinks about what we can do in life, chances are we can do it because of a teacher. [...] The basis for the future of education must lie in schools and inspiring teachers. But schools can only offer an elementary framework where sometimes rote-learning, equations and examinations can alienate children from science. Most people respond to a qualitative, rather than a quantitative, understanding, without the need for complicated equations. Popular science books and articles can also put across ideas about the way we live. However, only a small percentage of the population read even the most successful books. Science documentaries and films reach a mass audience, but it is only one-way communication.

The documentary also includes Trump summarizing his thoughts years after the USFL fold: “It was a nice experience,” he says. “It was fun. We had a great lawsuit.” Tollin extended Trump a courtesy in 2009 by sending him a rough cut of the film before it aired on ESPN. Trump was not happy with what he saw. In what had long before become a pattern when he was displeased, Trump took a thick, felt-tip pen to Tollin’s letter before mailing it back: “A third rate documentary and extremely dishonest—as you know. Best wishes,” Trump wrote, adding his distinctive, jaws-like signature. “P.S.—You are a loser.” Trump underlined the last word. To

James O. Incandenza - A Filmography The following listing is as complete as we can make it. Because the twelve years of Incadenza'a directorial activity also coincided with large shifts in film venue - from public art cinemas, to VCR-capable magnetic recordings, to InterLace TelEntertainment laser dissemination and reviewable storage disk laser cartridges - and because Incadenza's output itself comprises industrial, documentary, conceptual, advertorial, technical, parodic, dramatic non-commercial, nondramatic ('anti-confluential') noncommercial, nondramatic commercial, and dramatic commercial works, this filmmaker's career presents substantive archival challenges. These challenges are also compounded by the fact that, first, for conceptual reasons, Incadenza eschewed both L. of C. registration and formal dating until the advent of Subsidized Time, secondly, that his output increased steadily until during the last years of his life Incadenza often had several works in production at the same time, thirdly, that his production company was privately owned and underwent at least four different changes of corporate name, and lastly that certain of his high-conceptual projects' agendas required that they be titled and subjected to critique but never filmed, making their status as film subject to controversy.

John was one of Australia’s award-winning documentary filmmakers. He and Steve had met in the late 1980s, when Steve would help John shoot commercials that required a zoo animal like a lizard or a turtle. But their friendship did not really take off until 1990, when an Australian beer company hired John to film a tricky shot involving a crocodile. He called Steve. “They want a bloke to toss a coldie to another bloke, but a croc comes out of the water and snatches at it. The guy grabs the beer right in front of the croc’s jaws. You think that’s doable?” “Sure, mate, no problem at all,” Steve said with his usual confidence. “Only one thing, it has to be my hand in front of the croc.

At Dniepropetrovsk the Stalin regime had made great efforts in construction. We were at first impressed as we approached the suburbs of the city, where we saw outlined the large masonry blocks of the proletarian housing erected by the Soviets. Their lines were modern. The buildings were huge, and there were many of them. Undeniably, the Communist system had done something for the people. If the misery of the peasants was great, at least the worker seemed to have benefited from the new times. Still, it was necessary to visit and examine the buildings. We lived for six months in the Donets coal basin. We had plenty of time to test the conclusions that we had reached at the time of our entrance into Dniepropetrovsk. The buildings, so impressive from a distance, were just a gigantic hoax, intended to fool sightseers shepherded by Intourist [Soviet tourism agency] and the viewers of documentary films. Approaching those housing blocks you were sickened by the stench of mud and excrement that rose from the quagmires surrounding each of the buildings. Around them were neither sidewalks nor gravel nor paving stones. The Russian mud was everywhere, and everywhere the walls peeled and crumbled. The quality of the construction materials was of the lowest order. All the balconies had come loose, and already the cement stairways were worn and grooved, although the buildings were only a few years old.

Imaginary Lives Imaginary Lives is a thought experiment I have adapted from two important career-change thinkers, Julia Cameron and John Williams, which aims to take your ideas a stage closer towards specific job options.55 It’s simple but potentially powerful. • Imagine five parallel universes, in each of which you could have a whole year off to pursue absolutely any career you desired. Now think of five different jobs you might want to try out in each of these universes. Be bold in your thinking, have fun with your ideas and your multiple selves. Your five choices might be food photographer, member of parliament, tai chi instructor, social entrepreneur running a youth education project, and wide-achieving Renaissance generalist. One person I know who did this activity – a documentary film maker who was having doubts about her career – listed massage therapist, sculptor, cellist, screen-play writer, and owner of her own bar on a tiny, old-fashioned Canarian island. Now come back down to earth and look hard at your five choices. Write down what it is about them that attracts you. Then look at them again, and think about this question: • How does each career measure up against the two motivations in the previous activity that you chose to prioritize in the future? If you decided, for instance, that you want a combination of making a difference and high status, check whether your five imaginary careers might provide them. The point is to help you think more deeply about exactly what you are looking for in a career, the kind of experiences that you truly desire.

El árbol de España, was a 16-minute documentary about Spanish olive growing. [...] The film formed part of a major promotional campaign by the National Union of Olive-Growers to raise awareness of Spanish olive products in the USA. The piece also states that the film is thought to have been seen by as many as eight million Americans, which raises the real possibility that El árbol de España is the most widely seen Jess Franco film of all time!

I went to see Frederick Wiseman, the pioneer of interview-free, commentary-free, documentation-free documentary – a filmmaker who glides so slowly with his camera into the heart of what he is filming that everyone forgets that he is there. I told him about all the difficulties I found myself up against in trying to piece together the life of Barbara Loden. And he said to me – this man, who never works on anything that isn’t real, said to me quite calmly – ‘Make it up. All you have to do is make it up.

For many citizens, libraries are the one place where the information they need to be engaged in civic life is truly available for free, requiring nothing more than the time to walk into a branch. The reading room of a public library is the place where a daily newspaper, a weekly newsmagazine, and a documentary film are all available for free. In many communities, the library's public lecture room is the only place to hear candidates for office comparing points of view or visiting professors explaining their work on climate change, immigration or job creation. That same room is often the only place where a child from a family without a lot of money can go to see a dramatic reading or a production of a Shakespeare play. (Another of these simple realities in most communities is that a big part of public librarians job is to figure out how to host the community's homeless in a safe and fair manner.) Democracies can work only if all citizens have access to information and culture that can help them make good choices, whether at the voting booth or in other aspects of public life.

There might be a war on, there might be Nazi tanks on the Champs Elysées and Jews rounded up in the Marais, but this is still Paris, damn it. There are still fresh baguettes baking across the arrondissements, and if the cinemas have to occasionally show a German film to please the troops – H.A. Lettow and Ernst Schäfer’s documentary of the SS expedition to Tibet, Lhasa-Lo – Die verbotene Stadt, for instance – then so be it. Paris is still gay, there is still music in the cafés and wine in the brasseries, and aren’t some of those German soldier-boys handsome?

But there is also (though much of this is kept from us, to keep us intimidated and without hope) the bubbling of change under the surface of obedience: the growing revulsion against the endless wars (I think of the Russian women in the nineties, demanding their country end its military intervention in Chechnya, as did Americans during the Vietnam war); the insistence of women all over the world that they will no longer tolerate abuse and subordination—we see, for instance, the new international movement against female genital mutilation, and the militancy of welfare mothers against punitive laws. There is civil disobedience against the military machine, protest against police brutality directed especially at people of color. In the United States, we see the educational system, a burgeoning new literature, alternative radio stations, a wealth of documentary films outside the mainstream, even Hollywood itself and sometimes television—compelled to recognize the growing multiracial character of the nation. Yes, we have in this country, dominated by corporate wealth and military power and two antiquated political parties, what a fearful conservative characterized as “a permanent adversarial culture” challenging the present, demanding a new future.

Malcolm Muggeridge, once a keen British social and cultural critic who in his old age became something of a religious fanatic. While working on his own documentary on Mother Teresa for the BBC, aired in 1969, he felt he had experienced an authentic miracle: After filming footage in a dark residence called the House of the Dying, Muggeridge was astounded to discover, when later viewing the footage, that the images were in fact clearly visible. Muggeridge himself exclaimed: "It's divine light! It's Mother Teresa. You'll find that it's divine light, old boy" (MT 27). (I like that "old boy" remark-so distinctively British.) Unfortunately, Muggeridge's cameraman, Ken Macmillan, calmly pointed out that the effect was the result of a new kind of film created by Kodak. But Muggeridge's "miracle" had by this time already spread and is still being talked about. To Hitchens, however, the significance of the episode is very different: "It is the first unarguable refutation of a claimed miracle to come not merely from another supposed witness to said miracle but from its actual real-time author. As such, it deserves to be more widely known than it is" (MT 27). But, alas, the average person is far more inclined to believe in "miracles," however fake, than in the debunking of miracles, however real.

Like the Internet, environmentalism stretches back a long way, yet many people believe Al Gore invented it. There’s no question that Gore’s slideshow-turned-film documentary, An Inconvenient Truth, gave a huge jumpstart to the global warming … sorry, “climate change” … wait, sorry, “climate disruption” … no, hold on, “climate chaos” movement. (If the science is settled, why do they have to keep changing its name?) I won’t bother recounting all the challenges to Gore’s claims, as many others have already done so; or the widely noted disparities between the Spartan existence Gore prescribes for the rest of humanity and his own opulent, jet-set lifestyle. I’ll just point out what I consider the most damning fact of all: While he was prophesying that global warming would cause a twenty-foot sea-level rise by the year 2100, flooding coastal areas and leaving hundreds of millions homeless (a claim debunked by a University of Montana study), he spent nearly $9 million on an oceanfront mansion in the limousine-liberal enclave of Montecito, California [USA Today, “How Green Is Al Gore’s $9 Million Montecito Oceanfront Villa?” May 18, 2010]. If he truly believed in his own message, wouldn’t it have been wiser to spend $1 million on a mansion in Phoenix, Arizona, and then just wait for it to become oceanfront property? It’s no surprise that the biggest proponent of expanding government to combat “climate disruption” is also among the biggest emitters of hot gas.

On August 5, 2012, a few days before the fourth anniversary of the war, a forty-seven-minute Russian documentary film “8 Avgusta 2008. Poteryannyy den” (8 August 2008. The Lost Day) was posted on YouTube. In the film retired and active service generals accused former President Medvedev of indecisiveness and even cowardice during the conflict. They praised Putin, on the other hand, for his bold and vigorous action. According to one of Medvedev’s critics, retired Army General Yury Baluevsky, a former First Deputy Defense Minister and Chief of the General Staff, “a decision to invade Georgia was made by Putin before Medvedev was inaugurated President and Commander-in-Chief in May 2008. A detailed plan of military action was arranged and unit commanders were given specific orders in advance.” [...] After the release of the documentary film Putin confirmed that the Army General Staff had, indeed, prepared a plan of military action against Georgia. It was prepared “at the end of 2006, and I authorized it in 2007,” he said. Interestingly, Putin also said “that the decision to ‘use the armed forces’ had been considered for three days—from around 5 August,” which clearly contradicts the official Russian version that the Russian army only reacted to a Georgian attack that started on August 7. According to this plan not only heavy weaponry and troops were prepared for the invasion, but also South Ossetian paramilitary units were trained to support the Russian invading troops [234―35].

I thought you weren't supposed to force action." He laughed. "You know, my wife was filming a nature documentary a couple of years ago, and a flock of penguins got stuck in a ravine. The crew had to watch, completely helpless, as dozens of birds tried and tried and tried to get out to no avail. And if they did nothing, that entire flock would've died. So they broke their rule about intervening and carved stairs in the ice and snow, and the penguins marched right out of that ravine as soon as they had the chance." I shook my head. "Not sure that's a flattering comparison if you're me." He slapped me on the back. "They were smart enough to climb those stairs, Griffin. All I'm asking you to do is open your eyes. Once you do, your life will never be the same.

Which philosophers would Alain suggest for practical living? Alain’s list overlaps nearly 100% with my own: Epicurus, Seneca, Marcus Aurelius, Plato, Michel de Montaigne, Arthur Schopenhauer, Friedrich Nietzsche, and Bertrand Russell. * Most-gifted or recommended books? The Unbearable Lightness of Being by Milan Kundera, Essays of Michel de Montaigne. * Favorite documentary The Up series: This ongoing series is filmed in the UK, and revisits the same group of people every 7 years. It started with their 7th birthdays (Seven Up!) and continues up to present day, when they are in their 50s. Subjects were picked from a wide variety of social backgrounds. Alain calls these very undramatic and quietly powerful films “probably the best documentary that exists.” TF: This is also the favorite of Stephen Dubner on page 574. Stephen says, “If you are at all interested in any kind of science or sociology, or human decision-making, or nurture versus nature, it is the best thing ever.” * Advice to your 30-year-old self? “I would have said, ‘Appreciate what’s good about this moment. Don’t always think that you’re on a permanent journey. Stop and enjoy the view.’ . . . I always had this assumption that if you appreciate the moment, you’re weakening your resolve to improve your circumstances. That’s not true, but I think when you’re young, it’s sort of associated with that. . . . I had people around me who’d say things like, ‘Oh, a flower, nice.’ A little part of me was thinking, ‘You absolute loser. You’ve taken time to appreciate a flower? Do you not have bigger plans? I mean, this the limit of your ambition?’ and when life’s knocked you around a bit and when you’ve seen a few things, and time has happened and you’ve got some years under your belt, you start to think more highly of modest things like flowers and a pretty sky, or just a morning where nothing’s wrong and everyone’s been pretty nice to everyone else. . . . Fortune can do anything with us. We are very fragile creatures. You only need to tap us or hit us in slightly the wrong place. . . . You only have to push us a little bit, and we crack very easily, whether that’s the pressure of disgrace or physical illness, financial pressure, etc. It doesn’t take very much. So, we do have to appreciate every day that goes by without a major disaster.

Not long before my heart was shredded by “Ryan,” I saw the superb, painful, and infuriating documentary God Loves Uganda, a film by the astounding Roger Ross Williams. The doc examined the role of American evangelicalism in Uganda, its ties to a recently introduced bill, the Uganda Anti-Homosexuality Act—which then suggested the death penalty for LGBTQ+ people—as it gained serious momentum. It follows missionaries, evangelical leaders, and the LGBTQ+ people of Uganda who fight for their right to exist. These activists were standing up against vicious oppression, rhetoric, and ideas originally introduced and continuously perpetuated by the West. Concealed in “good deeds,” American missionaries created infrastructure for access to indoctrinate the populace, which fueled anti-LGBTQ+ violence and hate.

First there was Caine’s patently false “confession.” Then there was the fact that the FAYZ Legal Defense Fund racked up three million dollars in its first two weeks. Then there was a judicial panel that took statements from eminent scientists and concluded that the FAYZ was in fact a separate universe and thus not covered under California law. Finally, there was a shift in public opinion following the involvement of the two popular movie stars, the McDonald’s documentary starring Albert Hillsborough, the likelihood of a major Hollywood feature film, and the kiss seen round the world. Polls now showed 68 percent of Californians wanted no criminal charges brought against the FAYZ survivors. The kiss alone would have wrecked the career of any prosecutor or politician who had anything bad to say about Astrid Ellison or Sam Temple.

It is known that, during the last five years of his life, Dr. James O. Incandenza liquidated his assets and patent-licenses, ceded control over most of the Enfield Tennis Academy’s operations to his wife’s half-brother—a former engineer most recently employed in Amateur Sports Administration at Throppinghamshire Provincial College, New Brunswick, Canada—and devoted his unimpaired hours almost exclusively to the production of documentaries, technically recondite art films, and mordantly obscure and obsessive dramatic cartridges, leaving behind a substantial (given the late age at which he bloomed, creatively) number of completed films and cartridges, some of which have earned a small academic following for their technical feck and for a pathos that was somehow both surreally abstract and CNS-rendingly melodramatic at the same time.

Our life together was filled with contrasts. One week we were croc hunting with Dateline in Cape York. Only a short time after that, Steve and I found ourselves out of our element entirely, at the CableACE Award banquet in Los Angeles. Steve was up for an award as host of the documentary Ten Deadliest Snakes in the World. He lost out to the legendary Walter Cronkite. Any time you lose to Walter Cronkite, you can’t complain too much. After the awards ceremony, we got roped into an after-party that was not our cup of tea. Everyone wore tuxedos. Steve wore khaki. Everyone drank, smoked, and made small talk, none of which Steve did at all. We got separated, and I saw him across the room looking quite claustrophobic. I sidled over. “Why don’t we just go back up to our room?” I whispered into his ear. This proved to be a terrific idea. It fit in nicely with our plans for starting a family, and it was quite possibly the best seven minutes of my life! After our stay in Los Angeles, Steve flew directly back to the zoo, while I went home by way of one my favorite places in the world, Fiji. We were very interested in working there with crested iguanas, a species under threat. I did some filming for the local TV station and checked out a population of the brilliantly patterned lizards on the Fijian island of Yadua Taba. When I got back to Queensland, I discovered that I was, in fact, expecting. Steve and I were over the moon. I couldn’t believe how thrilled he was. Then, mid-celebration, he suddenly pulled up short. He eyed me sideways. “Wait a minute,” he said. “You were just in Fiji for two weeks.” “Remember the CableACE Awards? Where you got bored in that room full of tuxedos?” He gave me a sly grin. “Ah, yes,” he said, satisfied with his paternity (as if there was ever any doubt!). We had ourselves an L.A. baby.

Then, just as we were to leave on a whirlwind honeymoon in the beautiful Pacific Northwest, a call came from Australia. Steve’s friend John Stainton had word that a big croc had been frequenting areas too close to civilization, and someone had been taking potshots at him. “It’s a big one, Stevo, maybe fourteen or fifteen feet,” John said over the phone. “I hate to catch you right at this moment, but they’re going to kill him unless he gets relocated.” John was one of Australia’s award-winning documentary filmmakers. He and Steve had met in the late 1980s, when Steve would help John shoot commercials that required a zoo animal like a lizard or a turtle. But their friendship did not really take off until 1990, when an Australian beer company hired John to film a tricky shot involving a crocodile. He called Steve. “They want a bloke to toss a coldie to another bloke, but a croc comes out of the water and snatches at it. The guy grabs the beer right in front of the croc’s jaws. You think that’s doable?” “Sure, mate, no problem at all,” Steve said with his usual confidence. “Only one thing, it has to be my hand in front of the croc.” John agreed. He journeyed up to the zoo to film the commercial. It was the first time he had seen Steve on his own turf, and he was impressed. He was even more impressed when the croc shoot went off flawlessly. Monty, the saltwater crocodile, lay partially submerged in his pool. An actor fetched a coldie from the esky and tossed it toward Steve. As Steve’s hand went above Monty’s head, the crocodile lunged upward in a food response. On film it looked like the croc was about to snatch the can--which Steve caught right in front of his jaws. John was extremely impressed. As he left the zoo after completing the commercial shoot, Steve gave him a collection of VHS tapes. Steve had shot the videotapes himself. The raw footage came from Steve simply propping his camera in a tree, or jamming it into the mud, and filming himself single-handedly catching crocs. John watched the tapes when he got home to Brisbane. He told me later that what he saw was unbelievable. “It was three hours of captivating film and I watched it straight through, twice,” John recalled to me. “It was Steve. The camera loved him.” He rang up his contacts in television and explained that he had a hot property. The programmers couldn’t use Steve’s original VHS footage, but one of them had a better idea. He gave John the green light to shoot his own documentary of Steve. That led to John Stainton’s call to Oregon on the eve of our honeymoon. “I know it’s not the best timing, mate,” John said, “but we could take a crew and film a documentary of you rescuing this crocodile.” Steve turned to me. Honeymoon or crocodile? For him, it wasn’t much of a quandary. But what about me?” “Let’s go,” I replied.

That night Bindi, Steve, and I all curled up in bed together. “As long as we’re together,” Steve said, “everything will be just fine.” It was spooky, and I didn’t want to think about it, but it did indeed seem that Steve got into trouble more when he was off on his own. Around that time, on a shoot in Africa with the bushmen of the Kalahari Desert, Steve slipped as he rushed to get a shot of a lizard. He put his hand out to catch himself, and placed it down right in the middle of a euphorbia plant. The bush broke into pieces, and the splinters sank deep into Steve’s hand. Kalahari bushmen use the resin of the euphorbia plant to poison-tip their spears. Steve’s arm swelled and turned black. He became feverish and debated whether to go home or to the hospital. He sought the advice of the bushmen who worked with the poisonous resin regularly. “What do you do if you get nailed by this poison?” The bushmen smiled broadly. “We die,” they said. John filmed every step of the way as the skin of Steve’s arm continued to blacken and he rode out the fever. He worried about the residual effects of gangrene. Ultimately, Steve survived, but he felt the effects for weeks afterward. Once again, Steve and I discussed how uneasy we felt when we were apart. Every time we were together on a trip, we knew we’d be okay. When we were apart, though, we shared a disconcerting feeling that was hard to put into words. It made me feel hollow inside. The Africa trip had taken Steve away from us for three weeks, and Bindi had changed so much while he was away. We agreed that we would never be apart from Bindi and that at least one of us would always be with her. I just felt bad for Steve that I had been the lucky one for the past three weeks. He missed her so much. The next documentary would be different.

For Dylan, this electric assault threatened to suck the air out of everything else, only there was too much radio oxygen to suck. “Like a Rolling Stone” was the giant, all-consuming anthem of the new “generation gap” disguised as a dandy’s riddle, a dealer’s come-on. As a two-sided single, it dwarfed all comers, disarmed and rejuvenated listeners at each hearing, and created vast new imaginative spaces for groups to explore both sonically and conceptually. It came out just after Dylan’s final acoustic tour of Britain, where his lyrical profusion made him a bard, whose tabloid accolade took the form of political epithet: “anarchist.” As caught on film by D. A. Pennebaker’s documentary Don’t Look Back, the young folkie had already graduated to rock star in everything but instrumentation. “Satisfaction” held Dylan back at number two during its four-week July hold on Billboard’s summit, giving way to Herman’s Hermits’ “I’m Henry the Eighth, I Am” and Sonny and Cher’s “I Got You Babe” come August, novelty capstones to Dylan’s unending riddle. (In Britain, Dylan stalled at number four.) The ratio of classics to typical pop schlock, like Freddie and the Dreamers’ “I’m Telling You Now” or Tom Jones’s “It’s Not Unusual,” suddenly got inverted. For cosmic perspective, yesterday’s fireball, Elvis Presley, sang “Do the Clam.” Most critics have noted the Dylan influence on Lennon’s narratives. Less space gets devoted to Lennon’s effect on Dylan, which was overt: think of how Dylan rewires Chuck Berry (“Subterranean Homesick Blues”) or revels in inanity (“Rainy Day Women #12 & 35”). Even more telling, Lennon’s keening vocal harmonies in “Nowhere Man,” “And Your Bird Can Sing,” and “Dr. Robert” owed as much to the Byrds and the Beach Boys, high-production turf Dylan simply abjured. Lennon also had more stylistic stretch, both in his Beatle context and within his own sensibility, as in the pagan balalaikas in “Girl” or the deliberate amplifier feedback tripping “I Feel Fine.” Where Dylan skewed R&B to suit his psychological bent, Lennon pursued radical feats of integration wearing a hipster’s arty façade, the moptop teaching the quiet con. Building up toward Rubber Soul throughout 1965, Beatle gravity exerted subtle yet inexorable force in all directions.

I have come to think of the UFO problem in terms of three distinct levels. The first level is physical. We now know that the UFO behaves like a region of space, of small dimensions (about ten meters), within which a very large amount of energy is stored. This energy is manifested by pulsed light phenomena of intense colors and by other forms of electromagnetic radiation. The second level is biological. Reports of UFOs show all kinds of psychophysiological effects on the witnesses. Exposure to the phenomenon causes visions, hallucinations, space and time disorientation, physiological reactions (including temporary blindness, paralysis, sleep cycle changes), and long-term personality changes. The third level is social. Belief in the reality of UFOs is spreading rapidly at all levels of society throughout the world. Books on the subject continue to accumulate. Documentaries and major films are being made by men and women who grew up with flying-saucer stories. Expectations about life in the universe have been revolutionized. Many modern themes in our culture can be traced back to the "messages from space" coming from UFO contactees of the forties and fifties. The experience of a close encounter with a UFO is a shattering physical and mental ordeal. The trauma has effects that go far beyond what the witnesses recall consciously. New types of behavior are conditioned, and new types of beliefs are promoted. Aside from any scientific consideration, the social, political, and religious consequences of the experience are enormous if they are considered over the timespan of a generation. Faced with the new wave of experiences of UFO contact that are described in books like Communion and Intruders and in movies like Close Encounters of the Third Kind, our religions seem obsolete. Our idea of the church as a social entity working within rational structures is obviously challenged by the claim of a direct communication in modern times with visible beings who seem endowed with supernatural powers. This idea can shake our society to the very roots of its culture. Witnesses are no longer afraid to come forward with personal stories of abductions, of spiritual exchanges with aliens, even of sexual interaction with them. Such reports are folklore in the making. I have discovered that they form a striking parallel to the tales of meetings with elves and jinn of medieval times, with the denizens of "Magonia," the land beyond the clouds of ancient chronicles. But they are something else, too: a portent of important things to come.

A film, The Lost Continent, throws a clear light on the current myth of exoticism. It is a big documentary on 'the East', the pretext of which is some undefined ethnographic expedition, evidently false, incidentally, led by three or four Italians into the Malay archipelago. The film is euphoric, everything in it is easy, innocent. Our explorers are good fellows, who fill up their leisure time with child-like amusements: they play with their mascot, a little bear (a mascot is indispensable in all expeditions: no film about the polar region is without its tame seal, no documentary on the tropics is without its monkey), or they comically upset a dish of spaghetti on the deck. Which means that these good people, anthropologists though they are, don't bother much with historical or sociological problems. Penetrating the Orient never means more for them than a little trip in a boat, on an azure sea, in an essentially sunny country. And this same Orient which has today become the political centre of the world we see here all flattened, made smooth and gaudily coloured like an old-fashioned postcard. The device which produces irresponsibility is clear: colouring the world is always a means of denying it (and perhaps one should at this point begin an inquiry into the use of colour in the cinema). Deprived of all substance, driven back into colour, disembodied through the very glamour of the 'images', the Orient is ready for the spiriting away which the film has in store for it. What with the bear as a mascot and the droll spaghetti, our studio anthropologists will have no trouble in postulating an Orient which is exotic in form, while being in reality profoundly similar to the Occident, at least the Occident of spiritualist thought. Orientals have religions of their own? Never mind, these variations matter very little compared to the basic unity of idealism. Every rite is thus made at once specific and eternal, promoted at one stroke into a piquant spectacle and a quasi-Christian symbol. ...If we are concerned with fisherman, it is not the type of fishing which is whown; but rather, drowned in a garish sunset and eternalized, a romantic essense of the fisherman, presented not as a workman dependent by his technique and his gains on a definite society, but rather as the theme of an eternal condition, in which man is far away and exposed to the perils of the sea, and woman weeping and praying at home. The same applies to refugees, a long procession of which is shown at the beginning, coming down a mountain: to identify them is of course unnecessary: they are eternal essences of refugees, which it is in the nature of the East to produce.

With the false claim that the Germans murdered six million Jews, mostly in gas chambers at Auschwitz-Birkenau in Poland during WWII, since the end of WWII, the world has been saturated with films, documentaries and books on the Holocaust. Anyone worldwide who dares to investigate the Jewish Holocaust claims, is branded an Anti-Semite and Holocaust Denier. In our democratic world, a person who is accused of a crime is deemed innocent until irrefutable evidence proves them guilty. What has happened to democracy in Germany, Poland, France and Switzerland where people accused of Holocaust Denial are not allowed to provide any evidence that would prove that they are not guilty? In the Middle Ages, people accused of being witches, were also allowed no defence and were burned at the stake. As burning at the stake and crucifiction is not allowed in today's world, the best that the Jewish leaders and holocaust promoters can achieve is incarceration where no one can hear claims backed by years of very thorough research. The Jewish success in blocking my book "The Answer Justice", their failed attempts to stop the book "Chutzpah" written by Norman Finkelstein whose mother and father were held in German concentration camps, the incarceration of revisionists Ernst Zundel and Germar Rudolf in Germany and David Irving in Austria: these are all desperate attempts to end what they call Holocaust Denial. The English historian David Irving was refused entry to Australia in 2003 at the behest of the Jewish community (representing only 0.4% of the Australian population) thus denying the right of the other 99.6% to hear what David Irving has to say. Proof of Jewish power was the blocking of the public viewing of David Irving's film. The Jewish owners of the building locked the film presentation out which resulted in the headline in the "Australian" newspaper of: " Outrage at Jewish bid to stop the film by David Irving called "The Search For Truth in History" . Sir Zelman Cowan who was Governor General of Australia and a man much reverred in the Jewish community, has stated in the Jewish Chronicle (London) that "The way to deal with people who claim the holocaust never happened, is to produce irrefutable evidence that it did happen". I agree 100% with Sir Zelman Cowan. I am quite certain that he and other Zionist Jewish (Ashkenazim) world leaders are aware that a United Nations or International forensic examination of the alleged gas chamber at No. 2 Crematorium at Auschwitz-Birkenau in Poland, would irrefutably prove the truth to the world that xyclon B cyanide has never been used as alleged by world Jewry to kill Jews. In 1979 Professor W.D. Rubenstein stated: "If the Holocaust can be shown to be a Zionist myth, the strongest of all weapons in Israels's propaganda armory collapses. The Falsification of history by Zionist Jews in claiming the murder of six million Jews by Germany, constitutes the GREATEST ORGANISED CRIME that the world has known.

Waiting for a ship to come in               only further                                           removes               wind from sails set off faraway to find rarities   told of in wives’ tales,               storybooks,                                           documentary films.   Stuck in doldrums past point of no return Mutiny is delayed               by only beauty                             of sun’s set or rise               at horizons before and after this boat.   Memory and fantasy make for               some landscape                             on either side of these straights.

I remember a television program I saw once... The program was a documentary, about one of those wars. They interviewed people and showed clips from films of the time, black and white, and still photos... The interviews with people still alive then were in colour. The one I remember best was with a woman who had been the mistress of a man who had supervised one of the camps where they put the Jews, before they killed them. In ovens, my mother said... From what they said, the man had been cruel and brutal... The woman said she didn't notice much that she found unusual. She denied knowing about the ovens. ...He was not a monster, she said. People say he was a monster, but he was not one. What could she have been thinking about? Not much, I guess; not back then, not at the time. She was thinking about how not to think. The times were abnormal. She took pride in her appearance. She did not believe he was a monster. He was not a monster, to her. Probably he had some endearing trait: he whistled, off key, in the shower, he had a yen for truffles, he called his dog Liebchen and made it sit for little pieces of raw steak. How easy to invent a humanity, for anyone at all. What an available temptation. A big child, she would have said to herself. Her heart would have melted, she'd have smoothed the hair back from his forehead, kissed him on the ear, and not just to get something out of him either. The instinct to soothe, to make it better. There there, she'd say, as he woke from a nightmare. Things are so hard for you. All this she would have believed, because otherwise how could she have kept on living? She was very ordinary, under that beauty. She believed in decency, she was nice to the Jewish maid, or nice enough, nicer than she needed to be. Several days after this interview with her was filmed, she killed herself. It said that, right on television. Nobody asked her whether or not she had loved him. What I remember now, most of all, is the makeup.

Manzarek and Jim Morrison were film students at UCLA when they met. They both had an abiding interest in film and the past masters as well as creating a new cinema. Through The Doors they did create cinema. At first, one strictly of The Doors, but as their influence and legend spread through culture they, in turn, inspired those that were creating movies.   The Doors Film Feast of Friends Late in March 1968 (the exact date is unknown) The Doors decided to film a documentary of their forthcoming tour. The idea may have come about because Bobby Neuwirth, who was hired to hang out with Jim and try to direct his energies to more productive pursuits than drinking, produced a film Not to Touch the Earth that utilized behind the scenes film of The Doors. The band set up an initial budget of $20,000 for the project. Former UCLA film students Jim Morrison and Ray Manzarek hired film school friends Paul Ferrara as director of photography, Frank Lisciandro as editor, and Morrison friend Babe Hill as the sound recorder.

If that was a real question, there wasn’t time for me to answer because a very smartly dressed woman flared over and began talking to him, standing close with her fists on the hips of her slim-cut skirt, blocking him from view. This was Lillian Hellman, I would soon learn. She and Ernest and the others in the room made up the newly formed Contemporary Historians, a corporation bent on funding a documentary film that would help Spain acquire ambulances and other kinds of support. The filmmaker was Dutch, apparently, and already over in Spain with his Norwegian cameraman. Other members of the Historians were John Dos Passos, Archie MacLeish, and Evan Shipman, all writers big enough to cast shadows. The room seemed full of them as I sat in my blue chair, wondering how I might break in.

A filmmaker made a short documentary about this happy-go-lucky teenager on death row, called My Last Days. It showed Zach living happily, hanging out with his family, and playing music. Everybody loved Zach. When you see the footage, you can’t help but like him. As you watch him laugh and love and sing, you catch yourself forgetting: this kid is about to die. Zach’s family tells the camera how knowing he would die has helped them realize what matters in life and to find true meaning. “It’s really simple, actually,” Zach says. “Just try and make people happy.” As the 22-minute film closes, Zach looks into the camera, smiling, and says, “I want to be remembered as the kid who went down fighting, and didn’t really lose.” Not long after he said those words, Zach passed away. When Eli Pariser and Peter Koechley of Upworthy saw the film, they thought, This is a story that needs to be heard. Now just over a year old, Upworthy has become quite popular. In fact, it recently hit 30 million monthly visitors, making it, according to the Business Insider, the fastest-growing media company in history.* (Seven-year-old BuzzFeed was serving 50 million monthly visitors at the time.) The Zach Sobiech story illustrates how Upworthy used rapid feedback to do it: According to Upworthy’s calculations, My Last Days had the potential to reach a lot of people. But so far, few had seen it. The filmmaker had posted the documentary under the headline, “My Last Days: Meet Zach Sobiech.” Though descriptive, it was suboptimal packaging. In the ADD world of Facebook and Twitter, it’s no surprise that few people clicked. Upworthy reposted the video with a new title: “We Lost This Kid 80 Years Too Early. I’m Glad He Went Out with a Bang,” and shared it with a small number of its subscribers, then waited to see who clicked.

I’ll write you a note a day,” Peter says suddenly, with gusto. “That’ll drive her ass crazy.” I write down, Peter will write Lara Jean one note every day. Peter leans in. “Write down that you have to go to some parties with me. And write down no rom coms.” “Who said anything about rom coms? Not every girl wants to watch rom coms.” “I can just tell that you’re the kind of girl who does.” I’m annoyed that he has this perception of me, and even more annoyed that he’s right. I write, NO DUMB ACTION MOVIES. “Then what does that leave us with?” Peter demands. “Superhero movies, horror movies, period films, documentaries, foreign films--” Peter makes a face, grabs the pen and paper from me, and writes down, NO FOREIGN FILMS. He also writes, Lara Jean will make Peter’s picture her phone wallpaper. “And vice versa!” I say. I point my phone at him. “Smile.” Peter smiles, and ugh, it’s annoying how handsome he is. Then he reaches for his phone and I stop him. “Not right now. My hair looks sweaty and gross.” “Good point,” he says, and I want to punch him. “Can you also write down that under no circumstances can either of us tell anyone the truth?” I ask him. “The first rule of Fight Club,” Peter says knowingly. “I’ve never seen that movie.” “Of course you haven’t,” he says, and I make a face at him. Also: mental note, watch Fight Club.

All of our savings were consumed in the effort to bring my dog over. Steve loved Sui so much that he understood completely why it was worth it to me. The process took forever, and I spent my days tangled in red tape. I despaired. I loved my life and I loved the zoo, but there were times during that desperate first winter when it seemed we were fighting a losing battle. Then our documentaries started to air on Australian television. The first one, on the Cattle Creek croc rescue, caused a minor stir. There was more interest in the zoo, and more excitement about Steve as a personality. We hurried to do more films with John Stainton. As those hit the airwaves, it felt like a slow-motion thunderclap. Croc Hunter fever began to take hold. The shows did well in Sydney, even better in Melbourne, and absolutely fabulous in Brisbane, where they beat out a long-running number one show, the first program to do so. I believe we struck a chord among Australians because Steve wasn’t a manufactured TV personality. He actually did head out into the bush to catch crocodiles. He ran a zoo. He wore khakis. Among all the people of the world, Australians have a fine sense of the genuine. Steve was the real deal. Although the first documentary was popular and we were continuing to film more, it would be years before we would see any financial gain from our film work. But Steve sat down with me one evening to talk about what we would do if all our grand plans ever came to fruition. “When we start to make a quid out of Crocodile Hunter,” he said, “we need to have a plan.” That evening, we made an agreement that would form the foundation of our marriage in regard to our working life together. Any money we made out of Crocodile Hunter--whether it was through documentaries, toys, or T-shirts (we barely dared to imagine that our future would hold spin-offs such as books and movies)--would go right back into conservation. We would earn a wage from working at the zoo like everybody else. But everything we earned outside of it would go toward helping wildlife, 100 percent. That was our deal. As a result of the documentaries, our zoo business turned from a trickle to a steady stream. Only months earlier, a big day to us might have been $650 in total receipts. When we did $3,500 worth of business one Sunday, and then the next Sunday upped that record to bring in $4,500, we knew our little business was taking off. Things were going so well that it was a total shock when I received a stern notice from the Australian immigration authorities. Suddenly it appeared that not only was it going to be a challenge to bring Shasta and Malina to my new home of Australia, I was encountering problems with my own immigration too. Just when Steve and I had made our first tentative steps to build a wonderful life together, it looked as though it could all come tumbling down.

Along with John and Judi, we took a big risk and started filming on the movie before we had a contract signed with MGM. There didn’t seem to be any choice. I imagined all the insurance underwriters across the world reacting to the phrase “live crocodiles.” Those two words would be enough to blow them right out of their cubicles. So we began shooting with our zoo crocodiles, but without signatures on the dotted line for the movie. A particular scene in the script--and a good example of an insurance man’s nightmare--had a crocodile trying to lunge into a boat. Only Steve’s expertise could make this happen, since the action called for Steve and me to be in the boat at the time. If the lunging crocodile happened to hook his head over the edge of the boat, he would tip us both into the water. That would be a one-way trip. “How are you going to work it?” I asked Steve. “Get the crocs accustomed to the dinghy first,” he said. “Then I’ll see if I can get them interacting with me while I’m in the boat.” First he tried Agro, one of our biggest male crocs. Agro was too wary of the boat. He’s a smart crocodile. I think he remembered back when he was captured. He didn’t want any of it. We decided to try with our friend Charlie. Charlie had been very close to ending up at a farm, his skin turned into boots, bags, and belts. He definitely had attitude. He spent a lot of his time trying to kill everything within range. Steve felt good about the possibility of Charlie having a go. Because he was filming a movie and not shooting a documentary, John had a more complex setup than usual, utilizing three thirty-five-millimeter cameras. Each one would film in staggered succession, so that the film magazine changes would never happen all at once. There would never be a time when film was not rolling. We couldn’t very well ask a crocodile to wait while a fresh mag was loaded into a camera. “You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe.

Because he was filming a movie and not shooting a documentary, John had a more complex setup than usual, utilizing three thirty-five-millimeter cameras. Each one would film in staggered succession, so that the film magazine changes would never happen all at once. There would never be a time when film was not rolling. We couldn’t very well ask a crocodile to wait while a fresh mag was loaded into a camera.

Then our documentaries started to air on Australian television. The first one, on the Cattle Creek croc rescue, caused a minor stir. There was more interest in the zoo, and more excitement about Steve as a personality. We hurried to do more films with John Stainton. As those hit the airwaves, it felt like a slow-motion thunderclap. Croc Hunter fever began to take hold. The shows did well in Sydney, even better in Melbourne, and absolutely fabulous in Brisbane, where they beat out a long-running number one show, the first program to do so. I believe we struck a chord among Australians because Steve wasn’t a manufactured TV personality. He actually did head out into the bush to catch crocodiles. He ran a zoo. He wore khakis. Among all the people of the world, Australians have a fine sense of the genuine. Steve was the real deal.

Watching Steve around the camp was witnessing a man at one with his environment. Steve had spent all his life perfecting his bush skills, first learning them at his father’s side when he was a boy. He hero-worshiped Bob and finally became like his dad and then some. Steve took all the knowledge he’d acquired over the years and added his own experience. Nothing seemed to daunt him, from green ants, mozzies, sand flies, and leeches, to constant wet weather. On Cape York we faced the obvious wildlife hazards, including feral pigs, venomous snakes, and huge crocodiles. I never saw Steve afraid of anything, except the chance of harm coming to someone he loved. He learned how to take care of himself over the years he spent alone in the bush. But as his life took a sharp turn, into the unknown territory of celebrity-naturalist, he suddenly found himself with a whole film crew to watch out for. Filming wildlife documentaries couldn’t have happened without John Stainton, our producer. Steve always referred to John as the genius behind the camera, and that was true. The music orchestration, the editing, the knowledge of what would make good television and what wouldn’t--these were all areas of John’s clear expertise. But on the ground, under the water, or in the bush, while we were actually filming, it was 100 percent Steve. He took care of the crew and eventually his family as well, while filming in some of the most remote, inaccessible, and dangerous areas on earth. Steve kept the cameraman alive by telling him exactly when to shoot and when to run. He orchestrated what to film and where to film, and then located the wildlife. Steve’s first rule, which he repeated to the crew over and over, was a simple one: Film everything, no matter what happens. “If something goes wrong,” he told the crew, “you are not going to be of any use to me lugging a camera and waving your other arm around trying to help. Just keep rolling. Whatever the sticky situation is, I will get out of it.” Just keep rolling. Steve’s mantra.

Filming wildlife documentaries couldn’t have happened without John Stainton, our producer. Steve always referred to John as the genius behind the camera, and that was true. The music orchestration, the editing, the knowledge of what would make good television and what wouldn’t--these were all areas of John’s clear expertise. But on the ground, under the water, or in the bush, while we were actually filming, it was 100 percent Steve. He took care of the crew and eventually his family as well, while filming in some of the most remote, inaccessible, and dangerous areas on earth. Steve kept the cameraman alive by telling him exactly when to shoot and when to run. He orchestrated what to film and where to film, and then located the wildlife. Steve’s first rule, which he repeated to the crew over and over, was a simple one: Film everything, no matter what happens. “If something goes wrong,” he told the crew, “you are not going to be of any use to me lugging a camera and waving your other arm around trying to help. Just keep rolling. Whatever the sticky situation is, I will get out of it.” Just keep rolling. Steve’s mantra. On all of our documentary trips, Steve packed the food, set up camp, fed the crew. He knew to take the extra tires, the extra fuel, the water, the gear. He anticipated the needs of six adults and two kids on every film shoot we ever went on. As I watched him at Lakefield, the situation was no different. Our croc crew came and went, and the park rangers came and went, and Steve wound up organizing anywhere from twenty to thirty people. Everyone did their part to help. But the first night, I watched while one of the crew put up tarps to cover the kitchen area. After a day or two, the tarps slipped, the ropes came undone, and water poured off into our camp kitchen. After a full day of croc capture, Steve came back into camp that evening. He made no big deal about it. He saw what was going on. I watched him wordlessly shimmy up a tree, retie the knots, and resecure the tarps. What was once a collection of saggy, baggy tarps had been transformed into a well-secured roof. Steve had the smooth and steady movements of someone who was self-assured after years of practice. He’d get into the boat, fire up the engine, and start immediately. There was never any hesitation. His physical strength was unsurpassed. He could chop wood, gather water, and build many things with an ease that was awkwardly obvious when anybody else (myself, for example) tried to struggle with the same task. But when I think of all his bush skills, I treasured most his way of delivering up the natural world. On that croc research trip in the winter of 2006, Steve presented me with a series of memories more valuable than any piece of jewelry.

It was a brave new world that I found myself in. At night I would hear the sounds of the fruit bats as they came into the trees. Also in the mix were the strange, far-off grunts of the koalas as they sang out their mating calls. Herds of wild pigs passed right behind the tent. Venturing outside in the middle of the night with my dunny roll to go use a bush was a daunting experience. Steve was a natural in front of the camera. John had to give him only one important piece of advice. “Stevo,” John instructed, “there are three people in this documentary. There’s you, Terri, and the camera. Treat the camera just like another person.” Steve’s energy and enthusiasm took over. He completely relaxed, and he managed to just be himself--which was true of his entire career. This wasn’t just a film trip, it was also our honeymoon. Steve would sometimes escape the camera crew and take us up a tributary to be alone. We watched the fireflies come out. I’d never seen fireflies in Oregon. The magical little insects glowed everywhere, in the bushes and in the air. The darker it got, the brighter their blue lights burned on and off. I had arrived in a fairyland.

We can take all the photographs of Al Jamadi that night in the shower room, including the two trips to the shower room that Sabrina made, one with Chip Frederick, one with Chuck Graner, and we can order the photographs within a fraction of a second. It’s

It felt fantastic to be back filming again, and it made me realize how much I missed it. The crew represented our extended family. I never once caught a feeling of annoyance or impatience at the prospect of having a six-day-old baby on set. To the contrary, the atmosphere was one of joy. I can mark precisely Bindi Irwin’s introduction to the wonderful world of wildlife documentary filming: Thursday, July 30, 1998, in the spectacular subtropics of the Queensland coast, where the brilliant white sand meets the turquoise water. This is where the sea turtles navigate the rolling surf each year to come ashore and lay their eggs. Next stop: America, baby on board. Bindi was so tiny she fit on an airplane pillow. Steve watched over her almost obsessively, fussing with her and guarding to see if anything would fall out of the overhead bins whenever they were opened. Such a protective daddy. Our first shoot in California focused on rattlesnakes and spiders. We got a cute photo of baby Bindi with a little hat on and a brown tarantula on her head. In Texas she got to meet toads and Trans-Pecos rat snakes. Steve found two stunning specimens of the nonvenomous snakes in an abandoned house. I watched as two-week-old Bindi reacted to their presence. She gazed up at the snakes and her small, shaky arms reached out toward them. I laughed with delight at her eagerness. Steve looked over at me, as if to say, See? Our own little wildlife warrior!

As much as he influenced her, Bindi changed Steve, too. After our Florida trip, Bindi and I went home, while Steve flew off to the Indonesian island of Sumatra. We couldn’t accompany him because of the malaria risk, so we kept the home fires burning instead. At one point, Steve was filming with orangutans when his newfound fatherhood came in handy. A local park ranger who had worked with the national park’s orangutans for twenty-five years accompanied Steve into the rain forest, where they encountered a mother and baby orangutan. The rangers keep a close eye on the orangutans to prevent poaching, and the ranger recognized a lot of the animals by sight. “She reminds me of Bindi,” Steve exclaimed, seeing the infant ape. It was a mischievous, happy baby, clinging to her mother way up in the top branches of a tree. “This will be great to film,” Steve said. “I’ll climb into the tree, and then you can get me and the orangutans in the same shot.” The ranger waved his hands, heading Steve off. “You absolutely can’t do that,” the ranger said. “The mother orangutans are extremely protective. If you make a move anywhere near that tree, she’ll come down and pull your arms off.” Steve paused to listen. “They are very strong,” the ranger said. “She won’t tolerate you in her tree.” “I won’t climb very close to her,” Steve said. “I’ll just go a little way up. Then the camera can shoot up at me and get her in the background.” The ranger looked doubtful. “Okay, Steve,” he said. “But I promise you, she will come down out of that tree and pull your head off.” “Don’t worry, mate,” Steve said confidently, “she’ll be right.” He climbed into the tree. Down came the mother, just as the ranger had predicted. Tugging, pulling, and dragging her baby along behind her, she deftly made her way right over to Steve. He didn’t move. He sat on his tree limb and watched her come toward him. The crew filmed it all, and it became one of the most incredible shots in documentary filmmaking. Mama came close to Steve. She swung onto the same tree limb. Then she edged her way over until she sat right beside him. Everyone on the crew was nervous, except for Steve. Mama put her arm around Steve’s shoulders. I guess the ranger was right, Steve thought, wondering if he would be armless or headless in the very immediate future. While hanging on to her baby, Mama pulled Steve in tight with her other arm, looked him square in the face, and…started making kissy faces at him. The whole crew busted up laughing as Mama puckered up her lips and looked lovingly into Steve’s eyes. “You’ve got a beautiful little baby, sweetheart,” Steve said softly. The baby scrambled up the limb away from them, and without taking her eyes off Steve, the mother reached over, grabbed her baby, and dragged the tot back down. “You’re a good mum,” Steve cooed. “You take good care of that little bib-bib.” “I have never seen anything like that,” the park ranger said later. I had to believe that the encounter was further evidence of the uncanny connection Steve had with the wildlife he loved so much, as well as one proud parent recognizing another.

That night Bindi, Steve, and I all curled up in bed together. “As long as we’re together,” Steve said, “everything will be just fine.” It was spooky, and I didn’t want to think about it, but it did indeed seem that Steve got into trouble more when he was off on his own. Around that time, on a shoot in Africa with the bushmen of the Kalahari Desert, Steve slipped as he rushed to get a shot of a lizard. He put his hand out to catch himself, and placed it down right in the middle of a euphorbia plant. The bush broke into pieces, and the splinters sank deep into Steve’s hand. Kalahari bushmen use the resin of the euphorbia plant to poison-tip their spears. Steve’s arm swelled and turned black. He became feverish and debated whether to go home or to the hospital. He sought the advice of the bushmen who worked with the poisonous resin regularly. “What do you do if you net nailed by this poison?” The bushmen smiled broadly. “We die,” they said. John filmed every step of the way as the skin of Steve’s arm continued to blacken and he rode out the fever. He worried about the residual effects of gangrene. Ultimately, Steve survived, but he felt the effects for weeks afterward. Once again, Steve and I discussed how uneasy we felt when we were apart. Every time we were together on a trip, we knew we’d be okay. When we were apart, though, we shared a disconcerting feeling that was hard to put into words. It made me feel hollow inside. The Africa trip had taken Steve away from us for three weeks, and Bindi had changed so much while he was away. We agreed that we would never be apart from Bindi and that at least one of us would always be with her. I just felt bad for Steve that I had been the lucky one for the past three weeks. He missed her so much. The next documentary would be different.

Steve knew the sharks intimately by now. “The big tiger sharks will show up at eleven o’clock,” he said. And sure enough, they did, right on the dot. We had the shark cage and the dinghy, with myself (and Igor), Steve, and Sui. I sat in the dingy and watched the enormous tigers as they circled around. They had to be more than fourteen feet long, and some of them were larger than the boat itself. I quickly figured out that because of my great belly I was very unbalanced. I had to be careful so as not to tip the boat. Sui was an old hand at all of this. She planted herself in the center of the boat and lay down, sticking to the safest spot possible. Steve enjoyed going into the cage. The sharks came up to him one by one, trying to open this strange container and get to the nice yummy food inside. “They have a childlike curiosity,” he told me, breaking to the surface before lowering himself down again. “They’re really trying to figure out how to get me!” I got to experience them on the surface, in the dinghy. Tiger sharks don’t just feed under the water. They readily take food off the surface, too, and even lift themselves partially out of the water. Huge tiger sharks, wider across than I was (which at that point was saying a lot) came up to taste the boat, taste the motor, and put their heads all the way over the back of the dinghy. I was fascinated and had to stop myself from reaching out and stroking them. Of course I didn’t dare move, because I needed to counterbalance the boat, so the sharks wouldn’t rock it over. After a day of filming, my opinion of sharks was even better. Steve was right. Bringing people into close proximity to wildlife was all you had to do. I fell in love with tiger sharks that day. As it turned out, that was the last documentary of my pregnancy. For the next few weeks I’d be restricted to working at the zoo.

My company, Haslit Films, wants to do a documentary about this pair of siblings. Not so easy. They are very private and rarely do interviews. They don’t go to openings or parties. They don’t do Red Carpet. There was a big piece about them in the New York Times, but other than that they are a bit of a mystery. He, Alexandre Chevalier, is twenty- four and she, Sophie Dumas, is ten years older, his half sister from a previous marriage. They share the same father. This much I know. But I can find only one photo of him on the internet and he’s wearing a hoodie, his face practically masked –he looks like a typical college student. His sister stands beside him, her hair in a neat chignon –looking formidable, poised. HookedUp is going from strength to strength. Rumor has it they are looking to sell or go public but nobody can be sure. All this, I need to find out.

When Barack Obama took office, the fossil fuel industry was not only eager to preserve its perks but also more militant in its opposition to climate change science than ever. Skocpol notes that 2007 had been a turning point in the fight. That year, Al Gore was awarded both a Nobel Peace Prize and featured in an Academy Award–winning documentary film, An Inconvenient Truth. The film featured Mann’s hockey stick graph. Gore’s acclaim and Mann’s simple chart helped raise concern about global warming to a new peak, with 41 percent of the American public saying it worried them “a great deal.

Hillary’s America was met with outrage on the Left, but no one could rebut a single fact in the book or movie. Even my most incriminating allegations proved invulnerable. I noted that, in 1860, the year before the Civil War, no Republican owned a slave; all the four million slaves at the time were owned by Democrats. Now this generalization could easily be refuted by someone providing a list of Republicans who owned slaves. The Left couldn’t do it. One assiduous researcher finally sought to dispute me with a single counterexample. Ulysses S. Grant, he pointed out, once inherited a slave from his wife’s family. I conceded the point but reminded him that, at the time, Ulysses S. Grant was not a Republican. Fearful that they had no substantive answer to Hillary’s America, the mainstream media went into complete denial. If you watched the major networks or public television, or listened to National Public Radio, you would have no idea that Hillary’s America even existed. The book was Number One on the New York Times bestseller list and the movie was the top-grossing documentary of the year. Both were dense with material directly relevant to the ongoing election debate. Yet they were completely ignored by a press that was squarely in the Hillary camp. Despite the failed fulminations and widespread denial, however, the book and movie had an effect. Many people credit it with motivating Republicans and persuading undecideds and thus helping Trump get to the White House. I have no idea how to measure this effect. I do know my book and film helped shape the election narrative. They helped expose Hillary as a gangster and the Democrats as her accomplices with a long history of bigotry and exploitation to account for. In the 2016 election, for the first time the Democrats could not drop the race bomb and get away with it.

I can see myself acquiring bad habits from living here. My little house is equipped with a TV, and I've watched a lot this week. At home I seldom switch on before 'The Nine O'Clock News', and usually it's later than that, for an arts documentary or a film. This week I've been watching TV while eating my solitary dinner, and leaving it on afterwards because when I switched it off the silence seemed so deathly, and I can't stand listening to music on my tinny transistor radio. I've seen all kinds of programmes I never normally watch, soaps and sitcoms and police series, consuming them steadily and indiscriminately like a child eating its way through a bag of mixed sweets. For simple mindless distraction you can't beat early evening television. No scene lasts more than thirty seconds, and the stories jump from character so fast that you hardly notice how cardboard-thin they are.

* Who do you think of when you hear the word “successful”? “The first people who come to mind are the real heroes of Task Unit Bruiser: Marc Lee, first SEAL killed in Iraq. Mike Monsoor, second SEAL killed in Iraq, posthumously awarded the Medal of Honor after he jumped on a grenade to save three of our other teammates. And finally, Ryan Job, one of my guys [who was] gravely wounded in Iraq, blinded in both eyes, but who made it back to America, was medically retired from the Navy, but who died from complications after the 22nd surgery to repair his wounds. Those guys, those men, those heroes, they lived, and fought, and died like warriors.” * Most-gifted or recommended books? “I think there’s only one book that I’ve ever given and I’ve only given it to a couple people. That’s a book called About Face, by Colonel David H. Hackworth. The other book that I’ve read multiple times is Blood Meridian [by Cormac McCarthy].” * Favorite documentaries? “Restrepo, which I’m sure you’ve seen. [TF: This was co-produced and co-filmed by Sebastian Junger, the next profile.] There is also an hour-long program called ‘A Chance in Hell: The Battle for Ramadi.’” Quick Takes * You walk into a bar. What do you order from the bartender? “Water.” * What does your diet generally look like? “It generally looks like steak.” * What kind of music does Jocko listen to? Two samples: For workouts—Black Flag, My War, side B In general—White Buffalo

Curiosity is fueled by consuming media that makes you think, such as a short documentary film or an inspirational seventeen-minute talk from TED.com

We are always concocting theories about how the world works and why people act in the ways they do. We invent motives for them, as if it's possible for us to know, but more often than not these explanations are like flimsy cardboard state sets we put up in front of reality because they are simpler and less distracting than what's actually there. I think I became a documentary filmmaker to try to get a truer view. It's not that film can't lie or distort or be used for dastardly purposes, it's that sometimes the camera extracts from the faces and bodies of its subjects what they do not say aloud. I was sixteen when I first saw Marcel Ophuls's The Sorrow and the Pity, and after that, I couldn't stop thinking about he expressiveness of people's hands when they are controlling their faces.

It is impossible to view Calamity Jane today without responding to the gay subtext; hell, it’s not even subtext—the lesbian aspects of the film are all right out there. Dressed in buckskins, with a cap on her head and a red bandana around her neck, dirt streaking her face, Calamity says to Katie, “You’re the purtiest thing I’ve ever seen. I didn’t know a woman could look like that.” Hugging Katie, she invites her to move in with her to “chaperone” each other. Helping Katie out of the horse and wagon, Calam tells Katie, “We’ll batch it here as cozy as two bugs in a blanket.” And after Katie cleans the entire cabin, the finishing touch is a front-door stencil that reads “Calam and Katie.” It’s not exactly difficult to guess which woman is the butch one in this relationship; similarly, it is no accident that The Celluloid Closet, the documentary examination of Hollywood’s depiction of gay men and women on film, contains footage of Doris Day in buckskin singing “Secret Love,” the very title itself a code in 1950s America.

Charlie Uniform Tango is a world-class video production company and one of America’s best production partners.Good enough is never good enough. Not for our clients, our craft, or our amazingly talented people. As an industry leader in film and video production, we've spent the last three decades building brands and pushing boundaries across all types of content: Super Bowl commercials. Documentaries. Brand campaigns. Product demos. Social media. 3D animation. Film. TV. Let's tango.

Fifty Best Rock Documentaries Chicago Blues (1972) B. B. King: The Life of Riley (2014) Devil at the Crossroads (2019) BBC: Dancing in the Street: Whole Lotta Shakin’ (1996) BBC: Story of American Folk Music (2014) The Weavers: Wasn’t That a Time! (1982) PBS: The March on Washington (2013) BBC: Beach Boys: Wouldn’t It Be Nice (2005) The Wrecking Crew (2008) What’s Happening! The Beatles in the U.S.A. (1964) BBC: Blues Britannia (2009) Rolling Stones: Charlie Is My Darling—Ireland 1965 (2012) Bob Dylan: Dont Look Back (1967) BBC: The Motown Invasion (2011) Rolling Stones: Sympathy for the Devil (1968) BBC: Summer of Love: How Hippies Changed the World (2017) Gimme Shelter (1970) Rumble: The Indians Who Rocked the World (2017) Cocksucker Blues (1972) John Lennon & the Plastic Ono Band: Sweet Toronto (1971) John and Yoko: Above Us Only Sky (2018) Gimme Some Truth: The Making of John Lennon’s “Imagine” Album (2000) Echo in the Canyon (2018) BBC: Prog Rock Britannia (2009) BBC: Hotel California: LA from the Byrds to the Eagles (2007) The Allman Brothers Band: After the Crash (2016) BBC: Sweet Home Alabama: The Southern Rock Saga (2012) Ain’t in It for My Health: A Film About Levon Helm (2010) BBC: Kings of Glam (2006) Super Duper Alice Cooper (2014) New York Dolls: All Dolled Up (2005) End of the Century: The Story of the Ramones (2004) Fillmore: The Last Days (1972) Gimme Danger: The Stooges (2016) George Clinton: The Mothership Connection (1998) Fleetwood Mac: Rumours (1997) The Who: The Kids Are Alright (1979) The Clash: New Year’s Day ’77 (2015) The Decline of Western Civilization (1981) U2: Rattle and Hum (1988) Neil Young: Year of the Horse (1997) Ginger Baker: Beware of Mr. Baker (2012) AC/DC: Dirty Deeds (2012) Grateful Dead: Long, Strange Trip (2017) No Direction Home: Bob Dylan (2005) Hip-Hop Evolution (2016) Joan Jett: Bad Reputation (2018) David Crosby: Remember My Name (2019) Zappa (2020) Summer of Soul (2021)

This process of continuous alteration was applied not only to newspapers, but to books, periodicals, pamphlets, posters, leaflets, films, sound-tracks, cartoons, photographs—to every kind of literature or documentation which might conceivably hold any political or ideological significance. Day by day and almost minute by minute the past was brought up to date. In this way every prediction made by the Party could be shown by documentary evidence to have been correct; nor was any item of news, or any expression of opinion, which conflicted with the needs of the moment, ever allowed to remain on record.

read that summer as if searching for the right recipe—how to do it. In Bob’s book I found familiar prescriptions: travel, reading, nature, friendship, journal-keeping, letter-writing. Yet all of this was delivered with heightened impact through a method Bob calls “documentary biography,” in words and scenes lifted straight from the past, as if the book were a documentary film.

I’ve devoured every serial killer-based film and series I can, read the biographies, listened to hours of true crime podcasts, watched intensely questionable YouTube videos and every new Netflix true crime documentary. I’ve rewatched The Silence of the Lambs every year, as my own sort of holiday classic, and if stressed out, I’ll turn to Zodiac as my comfort blanket movie. I see it as a safe peek inside a psychology so far removed from my life, so totally inconceivable morally, that it’s the cinematic equivalent of bungee jumping.

I’ve never really stopped making documentaries. I’m one of those fiction film directors who never stopped being a documentarist. I try alternating between fiction and documentary because I believe we never stop learning, and let’s say that I learn an enormous amount by making documentaries. […] For me there’s no fiction without its documentary side, no film without aesthetic intent.

Considering the long-shot nature of its petition against Fahrenheit 9/11, it is worthwhile to consider whether Citizens United was mainly interested in hectoring the marketing strategy for that film, or whether it had ulterior motives in mind. One possibility is that Citizens United had recognized an opportunity to test whether the FEC would grant a “media exception” from the electioneering rules to companies producing documentary films. The BCRA allowed such exemptions for material that appeared “in a news story, commentary, or editorial distributed through the facilities of a broadcast, cable, or satellite television or radio station.” Though it was banned from traditional “electioneering” due to its corporate structure, Citizens United might have believed in 2004 that the FEC would distinguish between documentary films and campaign advertising, allowing corporate producers of the former to air ads with candidate images. Such a decision would have allowed it to create and market similar movies advocating conservative ideas.

As Justice Kennedy—the presumed swing vote among the justices—noted, If we concede … that a short, 30-second, 1-minute campaign ad can be regulated, you want me to write an opinion and say, “well, if it’s 90 minutes, then that’s different.” It seems to me that you can make the argument that … 90 minutes is much more powerful in support or in opposition to a candidate. Olson disagreed, however, stating that the Court had previously found that broadcast materials whose purpose was to “inform and educate,” in addition to mere persuasion, were “on the line of being permissible.” As a documentary film, Olson argued that Hillary: The Movie held greater potential than the typical 30-second campaign commercial to educate viewers. Justice Souter did not appear to be persuaded, saying, [The film is] not a musical comedy. I think we have no choice, really, but to say this is not issue advocacy; this is express advocacy saying “don’t vote for this person.” And if that is a fair characterization, the difference between 90 minutes and 1 minute, either for statutory purposes or constitutional purposes, is a distinction that I just cannot follow. Souter’s question suggested that his position was that neither the length of the film nor its general level of information was relevant to whether Citizens United could legally broadcast it. Because it was (to Souter, presumably) a totally one-sided description of why Hillary Clinton was unfit for the White House, the movie amounted to electioneering of the sort proscribed by the BCRA.

Given the FEC’s previous refusal to grant Citizens United a media exception to disseminate its John Kerry movie, there was a high probability that Hillary: The Movie would meet a similar fate in 2008. Citizens United probably knew that the FEC was likely to claim that considering its exclusively negative tone and laser-like focus on Senator Clinton, Hillary: The Movie amounted to a 90-minute campaign commercial well within the BCRA definitions of “electioneering,” and as such could neither be aired on broadcast outlets nor advertised over the airways within the applicable time limits. This presented an obvious marketing challenge. Were it limited to only movie theater screenings and online DVD sales, the film’s audience would be considerably narrower than intended. Citizens United surely realized that the only way to proceed with its plans to market political documentaries was to change the rules of the game. In December 2007, Citizens United brought suit against the FEC in the United States District Court for the District of Columbia. The purpose of the suit was to secure an injunction prohibiting the FEC from enforcing the electioneering provisions of the BCRA with regard to Hillary: The Movie. To that end, Citizens United made a First Amendment challenge, claiming that the BRCA’s bans on electioneering communications amounted to an unconstitutional infringement on its members’ freedom of speech. Moreover, the group alleged that because in its view its electioneering activities could not be banned, the disclosure requirements of the BCRA were also unconstitutional. First Amendment speech protections have long clashed with the restrictions imposed by campaign finance regulations. The general conflict in American campaign finance case law is that restrictions on contribution and/or spending are viewed by some as unreasonable restrictions on political speech, which has traditionally garnered significant protection (for an excellent summary, see: La Raja 2008, Ch. 3).

Citizens United was no stranger to the rules governing electioneering communications. Indeed, it had previously alleged that left-leaning filmmakers had violated them. During the 2004 election, the group had asked the FEC to prevent the broadcast and/or advertising of director Michael Moore’s film Fahrenheit 9/11. Moore’s documentary was highly critical of then-president George W. Bush’s handling of events surrounding the terrorist attacks of September 11, 2001, the subsequent “War on Terror,” and the Iraq War. The film was released in theaters late in June 2004, and was distributed on DVD in October of that same year—shortly before the presidential election. Given its anti-Bush slant, a number of conservative organizations sought to limit its release, while liberal groups rallied to the cause. For instance, the left-leaning organization MoveOn.org urged people to see the film, while Move America Forward, a right-leaning group, launched a letter-writing campaign designed to dissuade theater owners from screening it (Kasindorf and Keen 2004).

The riveting (and awfully distressing) Academy Award–winning documentary Inside Job shows in detail how the financial services industry corrupted the U.S. government, leading to a lack of oversight on Wall Street and to the financial meltdown of 2008. The film also describes how the financial services industry paid leading academics (deans, heads of departments, university professors) to write expert reports in the service of the financial industry and Wall Street. If you watch the film, you will most likely feel puzzled by the ease with which academic experts seemed to sell out, and think that you would never do the same.

documentary The Invisible War (which premiered at the 2012 Sundance Film Festival and

even a documentary film, Transcendent Man (2009), and a science fiction film, Transcendence, in which a brain implant allows you to control a computer network.