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We're all fascinated by the way other people live their lives, how they cope with hardship and triumph, what they put in their home movies and family albums.

The first documentary I saw that tried to show the actual experience of being a soldier in combat was 'The Anderson Platoon,' by French director Pierre Schoendoerffer, which won the Oscar for best documentary in 1967.

Although 'The Anderson Platoon' was what we would now call an 'embedded film' - with all the ambiguities that term implies - somehow Schoendoerffer got away with showing things as they really were from a grunt's perspective.

Despite the limitations of the bulky 16mm camera and 10-minute film magazines, 'The Anderson Platoon' feels as spontaneous and fresh as any films that have come out of the Afghan or Iraq wars.

In war films, even more than in other kinds of documentary, we've come to think that shaky, poor-quality footage is somehow more authentic than something classically 'well shot.'

There were many times during the filming of 'Touching the Void' when I wondered why I had ever thought I wanted to make this film.

In film, I believe things should either be documentary or drama.

If there is a tendency in modern television I hate, it is the unstoppable march of the dramatic reconstruction to tell the stories of anything from an ancient Egyptian battle to the early life of Paul Gascoigne.

The great thing about making a film on a submarine is that it's kind of like making a play. You've got this limited environment.

Everyone's got to make one submarine drama in their life.

I find it really difficult when you make a movie where it is set in Russia and everyone speaks in English. It drives me crazy.

It feels like we're all so familiar now with the traditional three-act structure that, actually, stories that are more complex, more naughty, that allow for disagreement and discussion, are more interesting to us.

People who die in an untimely way who are artists, somehow that validates their art, we feel. Why culturally we feel that, I don't know.

No man, no woman is without their flaws.

You can relate to someone with a flaw.

What got me into making movies was that I wanted to be a journalist.

I love submarine movies.

I love Humphrey Jennings. People ask me who my favorite documentary maker is, and he's certainly in the top three.

A publisher friend of mine suggested that I write a book about my grandfather, who had just died. I had nothing else to fill my empty days with, so I started work on this book. While researching it - watching lots of movies, talking to moviemakers - I became interested in movies and started making documentaries.

The interesting thing to me is that somehow the future of movies will become a more social thing... I think that people will see them communally and will be talking about them as they're watching them, in a way, and immediately after watching them, and they'll all become the conversation. I think that's pretty interesting.

'State of Play' is a romantic story at its heart.

Sometimes people give away more by not saying something.

If you can understand, you can feel compassion.

In my early career as a documentarian, I suppose I was trying to make films which - where it was all about making a big cinematic statement, and I think with 'Marley,' I slightly changed my direction and adopted a more mellow approach.

I'm not doing any more music films!

If you want to do 'Sword & Sandals' movies, people think that means it equals 'epic.'

I was a teenager in the '80s, and I was always a bit dismissive of Houston, as I think a lot of people who considered themselves 'cool music fans' were. She was poppy, bubble gum, making music not considered very cool. But you can't help but dance to some of those songs or feel emotionally affected by 'I Will Always Love You.'

Most people in Uganda have something good to say about Amin - 'He was funny; he gave us pride to be African.'

Coming from documentaries, my biggest challenge was to understand actors' psychologies. American actors take it all very seriously; British actors don't enter into all this methody way of doing things.

You can get good performances in quite sizable roles from people who have never been in front of a camera, people who maybe have never been in front of a movie theater.

In some ways, making documentaries is like being a journalist. You interview people and then use the bits you want to use as opposed to the bits they want you to use.

I've fallen out very badly with some of the subjects I've interviewed, because they see their lives a certain way; to step into a cinema and see your life depicted in another way can come as a terrible shock.

The only obligation you have as a film-maker is to tell your version of the truth and to use your film to illuminate reality. Whatever that means.

The relationship between director and subject can become very intense. It's a bit like therapy, with lots of transferences going on. It's easy to feel guilty.

It's obviously presumptuous in some ways to talk about somebody's sexuality who's not here to describe themselves.

When you're trying to make a film, you're trying to find a way to love your subject, and you want your audience to love your subject.

As a filmmaker, I'm interminably curious and nosy, but certain times you meet people and think, 'I don't want to push you too hard because I can see this is painful for you.'

I've done a few celebrity-related things, and I think on the first one - about Mick Jagger - I got stung and was not able to make the film I wanted to make.

For everybody in the world, the answers to the mysteries in your life usually lie in your childhood, your upbringing, and your parents.

The tradition has always been that in Roman films, the Romans are always British, and it's usually posh British: Laurence Olivier and his ilk. My take on all this was that it's a metaphor for empire and the end of empire.

People listen to The Beatles, but while they were muscially influential, they weren't culturally influential in quite the same way. You can go into the back of beyond in a little Indian village, and they will listen to Bob Marley. But they're not going to be listening to The Beatles or The Rolling Stones.

The thing with newspapers is that they are a filter. We're relying on the editors of that paper to be a filter and to tell you that this is worth reading about, this is quality, and this is quite reliable.

When you're an outsider and going into a culture like America, it's easier to stay away from any cliches because you're not really aware of what they are.

Young people read their news online; they expect to get their news for free.

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