What I’m looking for, in both fiction and documentary, are moments that you weren’t expecting, and which the audience don’t feel prepared for, moments that are candid, like something that just happened in front of the camera, and it’s not going to happen again. Those are the moments you live for as a documentary maker.

~ Kevin Macdonald, from https://the-talks.com/interview/kevin-macdonald/

I’ve lately been on a bender reading many of these really interesting, really short, interviews with countless people. Most of them don’t particularly interest me. “But wait,” you’re thinking, “those two sentences seem contradictory.” I’m glad you asked about that!

You see, once I know that there’s some large body of work and it’s pretty uniform, then I wonder: Why should I think that the ones I like are the really good ones? Since the work is (pretty) uniform, maybe they’re all really good (or pretty good, at least) and the reason I don’t like most of them… is me. If I sift through the work am I identifying the good ones? …or am I reinforcing, via confirmation bias, my narrow view points? If I wanted to grow—growth often being uncomfortable, especially when it comes to shifting one’s own perspectives—maybe I should intentionally read the ones that I think aren’t that good. Maybe I should be seeking out things which I’m misjudging, and that would by definition be the things I think aren’t that good.

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