Morgan Neville Quotes

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I came up in left-wing political writing. My first job out of college was working as Gore Vidal's fact checker.

I am a big believer in the power of journalism; it's a heroic pursuit.

There was no model how to make a documentary production company work. I figured it out as I went along.

I always tell aspiring documentary filmmakers, 'You have to go into it because you love it; if you go into it for the money, you're an idiot.' The number one prerequisite is you have to be intensely curious. If you love learning and trying to make people figure out what makes people tick, it's the best job in the world.

Everyone feels entitled to their own facts.

The presidential and vice-presidential debates are those rare moments when people come together, but to even call them debates is a stretch because they're played by such negotiated rules, and they're so over-rehearsed.

They don't make people like Gore Vidal and William F. Buckley anymore.

Now, you watch cable news, and you know what everybody's going to say before they open their mouth.

If the Olympic Spirit is about overcoming every hurdle and accepting no limits, then I think Samsung is a great ambassador for these values.

So much of what we get on our news debate shows is really people spinning one way or the other, giving their talking points one way or the other.

In a weird way, our satirists probably have the most complicated, nuanced views of our politics now - Jon Stewart, Stephen Colbert, John Oliver. I don't know what that says about our country.

TV tends to laud the person with the perfect one-liner rather than the one with the better idea.

If we can't agree on objective truth, then how are we ever going to agree on opinions?

In the late 1960s, English artists like the Rolling Stones and Joe Cocker began recording in the States, and at that point, they realised, 'We can get real African-American voices on our records; we don't have to pretend any more.'

Politicians pretend not to be smart.

Maybe this is my left-wing conspiracy theory, but the right has re-branded itself as kind of the everyman party: Who's the person you'd rather have a beer with? The Republican Party, even though it's a party of incredible wealth and corporate interests, has hidden behind this everyman quality.

I so often doubt how much people on television believe what they're saying. They're playing roles for think tanks or political parties or shills of whatever stripe.

The idea of music coming from the Church is not new.

Church singing is a great training ground.

Success and singing is not synonymous.

By the rules of debate, if you lose your cool, you've lost the game.

Culture in general is important, and people's identify is tied up in it. It's how we connect with others.

There's no cultural revolution by mistake.

The easiest way to subjugate a people is to erase a culture. I've seen it in war zones.

Music, like film, is an incredible tool for creating empathy.

There are a handful of music docs I'd love to do, including David Bowie.

I'd worked on music docs for years. It felt like writing a novel. By the time I got to Keith Richards, it felt like making a sketch.

I feel like - like Netflix is great if you've got a project ready to launch itself into the world rapidly.

As a writer, I think about films I work on in a traditional Hollywood kind of a way. I'm curious to see how it translates.

I knew who Buckley and Vidal were growing up, being a political junkie.

Vidal was a novelist, an essayist, a playwright, a screenwriter, and many other things. Buckley started a magazine, hosted a TV show, lead a political movement, and was a master debater. They were multihyphenates in a way that you rarely see anymore.

Sometimes we have our perfect foils, or you can call them their bete noir: the person who brings out both the best and the worst in you because you disagree with them so completely. Yet, you understand and respect them enough to give it your all.

I feel more relaxed after the Oscar. I feel like I have a chance to just tell the stories I want to tell, and it's actually been really nice.

When you come to documentaries, the stakes are too low for it to be cutthroat. You're all doing it for the right reasons.

If you're not doing it for the right reasons, then you'd be dumb to be making documentaries.

I feel like there's a lot of sympathy and camaraderie among documentary filmmakers.

Docs, in general, are made in the edit bay, archival docs even more so.

We saw The Who on New Year's Eve in 1975.

I feel like I'm in a privileged position where I get to meet people and talk to them about the most important things in their lives. I appreciate that trust they're putting in me.

The first night I met Yo-Yo Ma, I found him the most charming person I had ever met, and I was willing to follow him with the camera anywhere.

I think, in the West, we often discount the arts as nice but not that important. Certainly in America when we cut funding for schools, the arts are the first programs to go. But the arts built the things we need more than anything else: collaboration and co-operation and creativity.

I would argue that the culture is not the frosting on the cake: the culture is the plate the cake sits on.

When you come from a place and an identity, you can feel constricted and have to get away. But then you realise how much a part of you it is.

Being a backup singer means being able to sing on a dime. Music is oozing out of their every pore.

Space is something which makes us question our role here on Earth. It brings out the best of our hopes and dreams.

'The Sound of Silk' will serve as a lens for larger questions about cultural identity in a global society and the potential for individuals to act as catalysts for change.

Like the ancient Silk Road itself, 'The Sound of Silk' will make the foreign familiar while challenging long-held notions of identity and our place in the world.

Everything about Hank Williams interests me. His music, his life. His death. His impact.

We had an incredible experience on '20 Feet.'

You tend to put your rock stars on pedestals - they seem like they've been there for time immemorial. But you realize that the rock stars have their own rock stars. They were fans and kids once, too.

I could really sink my teeth into a David Bowie documentary.

If you're making a film about a band or a songwriter or whomever, there's a publisher, there's a record label, and there are people who are vested interests in that film. But with back-up singers, because they did stuff for everybody, there's no one party that has any vested interest in seeing the story told.

I always like learning the small details about a subject.

I love Memphis, and just being there affects one's outlook.

I love documentaries. I love the format. I've been doing them for a long time.

I've produced two docs for Cameron Crowe, and I've always loved him as a filmmaker.

The problem with a lot of narrative films is that they're not real enough.

Non-fiction or documentaries can tell any kind of a story because they don't have to adhere to the rules of what's possible. When you're making something up, you have to say, 'Well, this is what would happen here,' but in reality, stuff happens that seems impossible.

The best music films are not about music... Music is just the language we're speaking to tell a story about culture.

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