"The type of cinema that poses the most profound and difficult problems concerning illusion, irreality and fiction, is indeed the cinema of the real, its very task being to face the most difficult problem asked by philosophy for two thousand years, that of the nature of reality." (In the 1980 festival catalog of Cinema du Réel, Centre Pompidou, Paris) Original text of Edgar Morin on this topic hereArchived 2004-01-25 at archive.today (in French)
arri.de
"Archived copy"(PDF) (in German). Archived from the original(PDF) on 2007-09-25. Retrieved 2007-06-20.{{cite web}}: CS1 maint: archived copy as title (link)
"The type of cinema that poses the most profound and difficult problems concerning illusion, irreality and fiction, is indeed the cinema of the real, its very task being to face the most difficult problem asked by philosophy for two thousand years, that of the nature of reality." (In the 1980 festival catalog of Cinema du Réel, Centre Pompidou, Paris) Original text of Edgar Morin on this topic hereArchived 2004-01-25 at archive.today (in French)
cinema-quebecois.net
Original interview (in French)Archived 2007-09-28 at the Wayback Machine. "But in order to go and film people, to really go with them, amidst them, they must know you are there. They must accept the consequence of the presence of the camera and that means using a wide angle. The only legitimate process is one that relies on a tacit contract between the one who films and the one who is filmed, where there is a mutual recognition of the other."
"Today, we see the influence of vérité in everything from music videos to feature films to TV news. Yet these things are not vérité films. The key difference, I think, is that today's contemporary image industry is almost wholly devoid of thoughtful content; it is pure image (even, or maybe especially, the news) without the sense of social self and social responsibility that vérité filmmakers brought to their work.
"I am proud that filmmakers in Quebec and the rest of Canada and institutions like the National Film Board of Canada were able to give voice and vision to the vérité movement. Perhaps the next wave of documentarians and their audiences can re-visit some of the lessons learned from cinéma vérité, and adapt them to the challenges of the future." Filmmaker Peter Wintonick, about his film Cinéma Vérité: Defining the MomentArchived 2007-09-09 at the Wayback Machine
"Archived copy"(PDF) (in German). Archived from the original(PDF) on 2007-09-25. Retrieved 2007-06-20.{{cite web}}: CS1 maint: archived copy as title (link)
Original interview (in French)Archived 2007-09-28 at the Wayback Machine. "But in order to go and film people, to really go with them, amidst them, they must know you are there. They must accept the consequence of the presence of the camera and that means using a wide angle. The only legitimate process is one that relies on a tacit contract between the one who films and the one who is filmed, where there is a mutual recognition of the other."
"Today, we see the influence of vérité in everything from music videos to feature films to TV news. Yet these things are not vérité films. The key difference, I think, is that today's contemporary image industry is almost wholly devoid of thoughtful content; it is pure image (even, or maybe especially, the news) without the sense of social self and social responsibility that vérité filmmakers brought to their work.
"I am proud that filmmakers in Quebec and the rest of Canada and institutions like the National Film Board of Canada were able to give voice and vision to the vérité movement. Perhaps the next wave of documentarians and their audiences can re-visit some of the lessons learned from cinéma vérité, and adapt them to the challenges of the future." Filmmaker Peter Wintonick, about his film Cinéma Vérité: Defining the MomentArchived 2007-09-09 at the Wayback Machine
