Try QuoteGPT
Chat naturally about what you need. Each answer links back to real quotes with citations.
The first documentary I saw as a child was Robert Flaherty’s Nanook of the North (1922) broadcast one Sunday afternoon. Nanook enchanted me by his co… - Damian Pettigrew
" "The first documentary I saw as a child was Robert Flaherty’s Nanook of the North (1922) broadcast one Sunday afternoon. Nanook enchanted me by his courage to smile in a frozen wasteland, and by the simple fact that he wore a fur coat rather than a military uniform: this gentle hunter wasn’t a conqueror. Later, I understood how great Flaherty was: he told a timeless story without using commentary or pedagogues, and he didn’t interview Nanook like a celebrity or an aggressive talk-show host. He remained off-screen, observing and listening to create that exceptional complicity we feel in this documentary that eschews didacticism. The emotion of life found its counterpart in the emotion of art - a rare and precious achievement in a genre that is often limited to the emotion of the informational narrative.
English
Collect this quote
About Damian Pettigrew
Damian Pettigrew (born Québec, Canada) is a Paris-based Canadian film director best known for the feature-length documentary films Balthus Through the Looking Glass and Fellini: I'm a Born Liar.
Related quotes. More quotes will automatically load as you scroll down, or you can use the load more buttons.
Additional quotes by Damian Pettigrew
One of the key topics, for me, is a study of the individual in relation to crowds and to power. A film essay on crowd psychology would avoid commentary (it has become the madness of secondary discourse in many documentaries) and rely wholly on sound and image. Ideally, it would try to provide us with new concepts on the nature of society, on violence, and on the political bestiality of our times that is linked to the way the media has become a plague of words and images stripped of substance. It is a plague infecting our lives and, as a consequence, the history of nations with all that is sensational, random, and confused.
It was Italian playwright and screenwriter Ennio Flaiano who first spoke to Fellini of Fernando Pessoa during their collaboration on I Vitelloni (1953). Fellini claimed, however, that it was not until he lunched with Anthony Burgess in the mid 1970s (when the British writer owned a country house in Bracciano north of Rome) that he began reading the Portuguese poet in earnest. This is not to suggest that Pessoa influenced Fellini in any direct way but simply to note a genial coincidence embedded within two autobiographical masterpieces. The first quotation is from Pessoa’s O Livro do desassossego: ‘These are my Confessions, and if in them I say nothing, it’s because I have nothing to say.’ The second is from Fellini’s Otto e mezzo (1963) during the crucial night scene at the base of the scaffolding when Guido confesses to Rosella, “I have really nothing to say in my film. But I want to say it anyway.” Suddenly, the disparate obsessions of these two great Mediterranean minds seem to fold into one another, if only for an instant, like the sounds of vibrating wires touched simultaneously. Whatever the ultimate significance may be, it amuses me to think that textual coincidences of this nature are proof of the brotherhood of artists.
Try QuoteGPT
Chat naturally about what you need. Each answer links back to real quotes with citations.
We lunched in Fregene: grilled sardines sprinkled with parsley and lemon. Federico ate daintily, like someone with no appetite. The beach was deserted, the wind brisk. In the distance stood the abandoned lighthouse he filmed for 8 1/2. Like someone about to propose a toast, he stood up and "recited" from King Lear :
Loading...