Ken Burns Quotes
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When you are editing, the final master is Aristotle and his poetics. You might have a terrific episode, but if people are falling out because there are just too many elements in it, you have to begin to get rid of things.
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Louis Armstrong is quite simply the most important person in American music. He is to 20th century music (I did not say jazz) what Einstein is to physics.
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Wynton told us that Miles sold out, just wanted to make more money, just wanted to sell more records. I don't believe that Miles sold out but I'm not in a position to say.
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I have made a film about jazz that tries to look through jazz to see what it tells us about who we are as a people. I think that jazz is a spectacularly accurate model of democracy and a kind of look into our redemptive future possibilities.
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Good history is a question of survival. Without any past, we will deprive ourselves of the defining impression of our being.
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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.
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To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.
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History is malleable. A new cache of diaries can shed new light, and archeological evidence can challenge our popular assumptions.
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One of the things I really like about Ford's films is how there is always a focus on the way characters live, and not just the male heroes.
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I grew up certain for a while that I was going to be an anthropologist, until film turned my head.
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I can understand why some of these drummers and bass players become cult figures with all of their equipment and the incredible amount of technique they have. But there's very little that I think satisfies you intellectually or emotionally.
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I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again and there's a certain musical virtuosity involved in it.
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History's just been made for sale to an inside deal.
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I am passionately interested in understanding how my country works. And if you want to know about this thing called the United States of America you have to know about the Civil War.
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I treat the photograph as a work of great complexity in which you can find drama. Add to that a careful composition of landscapes, live photography, the right music and interviews with people, and it becomes a style.
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I think we too often make choices based on the safety of cynicism, and what we're lead to is a life not fully lived. Cynicism is fear, and it's worse than fear - it's active disengagement.
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I read cover to cover every jazz publication that I could and in the New York Times, every single day reading their jazz reviews even though I didn't put them in the films. I wanted to know what is going on.
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Jazz is a very accurate, curiously accurate accompaniment to 20th century America.
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I subscribe to William Faulkner's' view that history is not just about what we were before but who we are now.
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We're having a hard time understanding where jazz is going. What happened to jazz?
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I don't use composers. I research music the way I research the photographs or the facts in my scripts.
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By its very nature, no one person can ever be the center of jazz.
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The way I work, the interview never becomes larger than the person being interviewed.
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A jazz beat is a dynamic changing rhythm.