I wanted to bring art world ideas into a documentary space. Every medium has its limitations, but if you would like to - as I say - carry someone's consciousness, you can't use the still image. The sequential 24 frames… — RaMell Ross Copy Share Image
To give subjectivity to the Dozier School boys is fundamentally mind-blowing. In literature, you're allowed to write from the inside, but at least most… — RaMell Ross Copy Share Image
What a thing of free will to be in the air and to have that much control over one's directionality, up, down, left, right… — RaMell Ross Copy Share Image
You know, I feel like when we're watching films, typically, the films do the thinking for you, one could say. — RaMell Ross Copy Share Image
I realised that I wasn't going to the NBA when I broke my foot my second time. — RaMell Ross Copy Share Image
Film peddles in one blip in the sea of emotional relationships when it's literally the content of the whole ocean. — RaMell Ross Copy Share Image
Cinema lends itself to the play between the surreal, the symbolic, the experiential, the nonsensical and the aesthetic. It's on this weird carousel that's… — RaMell Ross Copy Share Image
The thing about 'Nickel Boys' is its a film that is more intelligent than its maker. — RaMell Ross Copy Share Image
I don't think you need a lot of money to make a film that's cinematic and deserves to be in theaters, but people feel… — RaMell Ross Copy Share Image
The South is my home and I'm trapped in its stomach trying to get to its brain. — RaMell Ross Copy Share Image
Black folks aren't asked to make films about all white people. But what would have happened if we did? What would white culture look… — RaMell Ross Copy Share Image
Micro-looking processes that are human are what I was interested in. How can you use the camera to mime the way that we look?… — RaMell Ross Copy Share Image
Imagine something where you are just provided with the truth, which is something that everyone deserves. It's insane that's a line like that has… — RaMell Ross Copy Share Image
