When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.
Ken BurnsRead
I never, ever want to apologize for a film. If it's bad I'll say it's my fault. And that's what I can say so far in all the films that I've done, that if you don't like it, it's entirely my fault.
Interpretation
The quote emphasizes personal accountability and ownership in the creative process.
Ken Burns expresses his commitment to artistic integrity and personal responsibility in filmmaking. He asserts that he will not shy away from taking full responsibility for the films he creates, whether they are well-received or not, highlighting the importance of owning one's creative work.
In practice
In a discussion about creative processes, one might use this quote to highlight the value of accountability.
When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
Good history is a question of survival. Without any past, we will deprive ourselves of the defining impression of our being.
It is the great arrogance of the present to forget the intelligence of the past
In most films music is brought in at the end, after the picture is more or less locked, to amplify the emotions the filmmaker wants you to feel.
Jazz is a very accurate, curiously accurate accompaniment to 20th century America.
How do you explain what it feels like to get on the stage and make poetry that you know sinks into the hearts and souls of people who are unable to express it
I think that at a certain age, say fifteen or sixteen, poetry is like masturbation. But later in life good poets burn their early poetry, and bad poets publish it. Thankfully I gave up rather quickly.
When I was 21 I wanted to write like Kafka. But, unfortunately for me, I wrote like a script editor for The Simpsons who'd briefly joined a religious cult and then discovered Foucault. Such is life.
The main purpose of my work is to provoke people into using their imagination. Most people spend their lives in dreary, grey-beige conformity, mortally afraid of using colours. By experimenting with lighting, colours, textiles and furniture and utilizing the latest technologies, I try to show new ways to encourage people to use their phantasy and make their surroundings more exciting.
An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I've left the opera house.
I sometimes have a horrible fear of turning up a canvas of mine. I'm always afraid of finding a monster in place of the precious jewels I thought I had put there!
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