American - Director | July 29, 1953 -
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.
Ken Burns
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Jazz is a very accurate, curiously accurate accompaniment to 20th century America.
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You don't work on something for six years and be blind to the myriad of other approaches.
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You need, as a historian, essential triangulation from your subject and the only way you get that triangulation is through time.
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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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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.
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I enjoy total creative control right now. Nobody tells me to make it longer, shorter, better, sexier, more violent, whatever.
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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.
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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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A jazz beat is a dynamic changing rhythm.
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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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I think my expectations for myself are much more severe and much more direct. You can't work on a film for six years without being your own toughest critic. So you can't really be distracted by the expectations based on your previous performance.
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