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1 " War crimes, you say?No matter how many policies you put on paper, in reality, there are no rights and wrongs in war. War itself is a crime. War cannot be justified. I believe, the only people, in this world, whose opinions matter, are the ones who go the extra mile to help other people expecting nothing in return. Soldiers who fight fiercely for their country, the doctors in Sri Lanka's public hospitals attending to hundreds of patients at a time for no extra pay , the nuns who voluntarily teach English and math to children of refugee camps in the north, the monks who collect food to feed entire villages during crises, they are the people worth listening to, their opinion matters. So find me one of them who will say: they wish the war didn't end in 2009, that they wish Sri Lanka was divided into two parts. Find me one of them who agrees with the international war crime allegations against Sri Lanka, and I will listen. But I will not listen to the opinions of those who are paid to find faults in a war they were never a part of, a war they never experienced themselves. I will not listen to the opinions of those who watched the war on tv or read about it on the internet or were moved by a documentary on Al Jazeera. The war is over. The damage is done. Let Sri Lanka move on. So our children will never have to see what we've seen. "
― Thisuri Wanniarachchi
2 " The average artist has a naïve, unrealistic, and disconnected view of what the music industry is, how it works, what is involved in “making it”, and what actually is happening behind the scenes. Too many artists take at face value what they see on some TV documentary or read in a fan magazine. Whether you are working with others in a band, looking to connect with a manager, an agent, a label, or an investor, or you just want to work in the industry, it is more crucial than ever to know what you are working for and toward. "
― Loren Weisman , The Artist's Guide to Success in the Music Business: The “Who, What, When, Where, Why & How” of the Steps that Musicians & Bands Have to Take to Succeed in Music
3 " 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. "
― Wes Locher , Musings on Minutiae
4 " Don’t just make your life a documentary of compromised relationships rather live notorious, fearless and scandalous life to be part of others biographies. "
5 " Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being. "
― Vilém Flusser , Towards a Philosophy of Photography
6 " I didn't feel physically sick. But mentally. My mind was twisting in so many ways. (...) We once saw a documentary on migraines. One of the men interviewed used to fall on his knees and bang his head against the floor, over and over during attacks. This diverted the pain from deep inside his brain, where he couldn't reach it, to a pain outside that he had control over. "
― Jay Asher , Thirteen Reasons Why
7 " I mean that certain fictions, chiefly Conan Doyle, Stevenson, but many others also, laid out a template that was more powerful than any local documentary account - the presences that they created, or " figures" if you prefer it, like Rabbi Loew's Golem, became too much and too fast to be contained within the conventional limits of that fiction. They got out into the stream of time, the ether; they escaped into the labyrinth. They achieved an independent existence. The writers were mediums; they articulated, they gave a shape to some pattern of energy that was already present. They got in on the curve of time, so that by writing, by holding off the inhibiting reflex of the rational mind, they were able to propose a text that was prophetic. "
8 " I saw a documentary about prostitution in Holland a few years ago, that said over there health insurance actually pays for monthly visits to a prostitute for the disabled, because they feel that sex is part of a healthy life, so unmarried disabled men have a right to have sex, even if it's with a paid prostitute. Pretty bizarre, huh? Can you imagine a US health insurance company picking up the bill for your romp in the hay with a hooker? "
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9 " One day, back when I working at a video store, a woman accompanied by her two small sons walked up the counter with a tape box displaying a man slicing off someone’s head with a chainsaw. “Does this have any sex in it?” she asked. In my mind, it was like I was narrating a nature documentary on humans. “Watch as the American mother protects her young ones from dangerous influences. "
― Alex Bosworth , Chip Chip Chaw!
10 " It is clear from both documentary and archaeological sources that conspicuous display and consumption of wealth was fundamental for an elite male to maintain power and position in society. "
― , Daily Life in Anglo-Saxon England
11 " It was after a Frontline television documentary screened in the US in 1995 that the Freyds' public profile as aggrieved parents provoked another rupture within the Freyd family, when William Freyd made public his own discomfort.'Peter Freyd is my brother, Pamela Freyd is both my stepsister and sister-in-law,' he explained. Peter and Pamela had grown up together as step-siblings. 'There is no doubt in my mind that there was severe abuse in the home of Peter and Pam, while they were raising their daughters,' he wrote. He challenged Peter Freyd's claims that he had been misunderstood, that he merely had a 'ribald' sense of humour. 'Those of us who had to endure it, remember it as abusive at best and viciously sadistic at worst.' He added that, in his view, 'The False memory Syndrome Foundation is designed to deny a reality that Peter and Pam have spent most of their lives trying to escape.' He felt that there is no such thing as a false memory syndrome.' Criticising the media for its uncritical embrace of the Freyds' campaign, he cautioned:That the False Memory Syndrome Foundation has been able to excite so much media attention has been a great surprise to those of us who would like to admire and respect the objectivity and motive of people in the media. Neither Peter's mother nor his daughters, nor I have wanted anything to do with Peter and Pam for periods of time ranging up to two decades. We do not understand why you would 'buy' into such an obviously flawed story. But buy it you did, based on the severely biased presentation of the memory issue that Peter and Pam created to deny their own difficult reality. p14-14 Stolen Voices: An Exposure of the Campaign to Discredit Childhood Testimony "
― Judith Jones Beatrix Campbell
12 " [Memory]... is a system of near-infinite complexity, a system that seems designed for revision as much as for replication, and revision unquestionably occurs. Details from separate experiences weave together, so that the rememberer thinks of them as having happened together. The actual year or season or time of day shifts to a different one. Many details are lost, usually in ways that serve the self in its present situation, not the self of ten or twenty or forty years ago when the remembered event took place. And even the fresh memory, the 'original,' is not reliable in a documentary sense....Memory, in short, is not a record of the past but an evolving myth of understanding the psyche spins from its engagement with the world. "
13 " 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. "
― Russell Brand
14 " I just watched this documentary on the mating habits of whiptail lizards and trust me, if those things can make it happen, you can too, my friend. "
― Robin Bielman , Wild About Her Wingman (Secret Wishes, #3)
15 " Back at the Davydokovo apartment, we sat mesmerized in front of Grandad's Avantgard brand TV. It was all porn all the time. Porn in three flavors: 1)Tits and asses; 2) gruesome close-ups of dead bodies from war or crimes; 3) Stalin. Wave upon wave of previously unseen documentary footage of the Generalissimo. Of all the porn, number three was the most lurid. The erotics of power. "
― Anya von Bremzen , Mastering the Art of Soviet Cooking: A Memoir of Food and Longing
16 " All profound changes in consciousness, by their very nature, bring with them characteristic amnesias. Out of such oblivions, in specific historical circumstances, spring narratives… The photograph… is only the most peremptory of a huge modern accumulation of documentary evidence… which simultaneously records a certain apparent continuity and emphasizes its loss from memory. Out of this estrangement comes a conception of personhood, identity… which, because it cannot be “remembered”, must be narrated. "
― Benedict Anderson , Imagined Communities: Reflections on the Origin and Spread of Nationalism
17 " The whiteness celebrated in Paris is Burning is not just any old brand of whiteness but rather that brutal imperial ruling-class capitalist patriarchal whiteness that presents itself -its way of life- as the only meaningful life there is. What could be more reassuring to a white public fearful that marginalized disenfranchised black folks might rise any day now make revolutionary black liberation struggle a reality than a documentary affirming that colonized, victimized, exploited black folks, are all too willing to be complicit in perpetuating the fantasy that ruling-class white culture is the quintessential site of unrestricted joy, freedom, power and pleasure. "
18 " I haven’t been disingenuous in what I’ve said describing my perception of “truth” and “reality.” Certainly, I understand what is generally meant to be the “truth,” I understand this notion, but it’s not something I trust in, OK?The only answer that feels true (I said feels, not is) is that yes, the character Minnie is me, but she is not me. She is a projection of some tumult which originates within me, but she is not me. I use elements of myself, including my likeness, for the character, perhaps as Cindy Sherman uses herself in her work, but like Sherman’s photographs, the work itself is not any more about the creator than it is about everyone. I won’t deny that Minnie does things I have done, and that things happen to her that have happened to me, but she, unlike me, having been created, is who she is and will remain so, unchanged now. I make no attempt to create “documentary.” There is a process of dissociation that takes place when I make a story, I make creative decisions in a fugue state that I could hardly describe to you, but the end result is, I hope, a story with some meaning or resonance, something created, with a beginning, a middle and an end, an encapsulation of feeling and impression, but in no way a documentary of anything other than an “emotional truth.”If I told most interviewers that my work is “true” and that it is based on real events that occurred in my life, they would more readily accept this than they do the explanation I try to give. Sadly, what they would believe feels to me like a lie and a simplification of a process that is for me as complex and vague as life itself… "
― Phoebe Gloeckner
19 " Young man,” he went on, raising his head again, “in your face I seem to read some trouble of mind. When you came in I read it, and that was why I addressed you at once. For in unfolding to you the story of my life, I do not wish to make myself a laughing-stock before these idle listeners, who indeed know all about it already, but I am looking for a man of feeling and education. Know then that my wife was educated in a high-class school for the daughters of noblemen, and on leaving, she danced the shawl dance before the governor and other personages for which she was presented with a gold medal and a certificate of merit. The medal … well, the medal of course was sold—long ago, hm … but the certificate of merit is in her trunk still and not long ago she showed it to our landlady. And although she is most continually on bad terms with the landlady, yet she wanted to tell some one or other of her past honours and of the happy days that are gone. I don’t condemn her for it. I don’t blame her, for the one thing left her is recollection of the past, and all the rest is dust and ashes. Yes, yes, she is a lady of spirit, proud and determined. She scrubs the floors herself and has nothing but black bread to eat, but won’t allow herself to be treated with disrespect. That’s why she would not overlook Mr. Lebeziatnikov’s rudeness to her, and so when he gave her a beating for it, she took to her bed more from the hurt to her feelings than from the blows. She was a widow when I married her, with three children, one smaller than the other. She married her first husband, an infantry officer, for love, and ran away with him from her father’s house. She was exceedingly fond of her husband; but he gave way to cards, got into trouble and with that he died. He used to beat her at the end: and although she paid him back, of which I have authentic documentary evidence, to this day she speaks of him with tears and she throws him up at me; and I am glad, I am glad that, though only in imagination, she should think of herself as having once been happy.… And she was left at his death with three children in a wild and remote district where I happened to be at the time; and she was left in such hopeless poverty that, although I have seen many ups and downs of all sorts, I don’t feel equal to describing it even. Her relations had all thrown her off. And she was proud, too, excessively proud.… And then, honoured sir, and then, I, being at the time a widower, with a daughter of fourteen left me by my first wife, offered her my hand, for I could not bear the sight of such suffering. You can judge the extremity of her calamities, that she, a woman of education and culture and distinguished family, should have consented to be my wife. But she did! Weeping and sobbing and wringing her hands, she married me! For she had nowhere to turn! Do you understand, sir, do you understand what it means when you have absolutely nowhere to turn? No, that you don’t understand yet… "
― Fyodor Dostoevsky , Crime and Punishment
20 " Edward had a personal horror of violence and never endorsed or excused it, though in a documentary he made about the conflict he said that actions like the bombing of pilgrims at Tel Aviv airport 'did more harm than good,' which I remember thinking was (a) euphemistic and (b) a slipshod expression unworthy of a professor of English. "
― Christopher Hitchens , Hitch 22: A Memoir
