"So I do tend to do documentaries where I can move in and out of them"
About this Quote
Apted’s line reads like a casual workflow note, but it’s really a quiet manifesto about power and proximity. “Move in and out” suggests a director who refuses the false purity of the fly-on-the-wall ideal. He’s admitting that documentaries aren’t pristine observations; they’re relationships, built on access and time, and the filmmaker’s presence is part of the ecology.
The context makes the subtext sharper: Apted is the mind behind the Up series, a project defined by return visits across decades. You don’t “embed” in that kind of story once; you re-enter people’s lives, then leave, then come back older, with a camera and a history. The movement is logistical (shoots have beginnings and ends) but also ethical. Coming and going creates distance, which can protect both subject and filmmaker from the intoxication of constant intimacy. It also creates tension: each return risks reopening old narratives and renegotiating consent. The quote’s breeziness is a tell; it normalizes the awkward truth that documentary can be a long-term commitment without becoming a permanent occupation.
There’s craft in the phrasing, too. “Tend to” and “where I can” are hedges that signal humility and calculation at once. Apted isn’t claiming total control over reality; he’s choosing a structure that lets reality change without him trying to manage every moment. In an era that rewards constant content and total access, he’s defending the value of the interval: the off-camera years where lives actually happen.
The context makes the subtext sharper: Apted is the mind behind the Up series, a project defined by return visits across decades. You don’t “embed” in that kind of story once; you re-enter people’s lives, then leave, then come back older, with a camera and a history. The movement is logistical (shoots have beginnings and ends) but also ethical. Coming and going creates distance, which can protect both subject and filmmaker from the intoxication of constant intimacy. It also creates tension: each return risks reopening old narratives and renegotiating consent. The quote’s breeziness is a tell; it normalizes the awkward truth that documentary can be a long-term commitment without becoming a permanent occupation.
There’s craft in the phrasing, too. “Tend to” and “where I can” are hedges that signal humility and calculation at once. Apted isn’t claiming total control over reality; he’s choosing a structure that lets reality change without him trying to manage every moment. In an era that rewards constant content and total access, he’s defending the value of the interval: the off-camera years where lives actually happen.
Quote Details
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