I'm not going to listen to this.

Ray, you're chanting.

I'm not going to hear this now. I think documentary, I mean, the very first films were, in a sense, documentary, quote-unquote, right?

I mean, Lumier brothers in France photographed the Daily Life in a way.

They photographed the train coming into the station.

They photographed workers leaving a factory. Godard the train coming into the station. They photographed

workers leaving a factory. Godar said, Jalouin Goddard said they were the last impressionists in a way.

But you look at that footage now and you really, a whole hundred years comes to life, you know.

And so that's just a camera in one position, just photographing a daily activity. So imagine now,

add the story

to that or add an event or whatever. I just think that I come from a time where the documentary

and the narrative film really people were accepting the documentaries, particularly in late

50s, early 60s to late 60s, as feature films to be shown in theaters, alongside the latest film by was Hitchcock at the time

was sort of in the end of his career and there were other people coming out of Hollywood.

But around the corner you had Alan David Maisel's film Salesman playing at Cinema One and

Fredwick Wiseman's Titicot Follies.

There were feature films.

You go and see on a Friday or Saturday or Sunday afternoon.

And so for me, I think to relegate documentaries to a small screen or as a subdivision, I think,

is doing a disservice. I mean, don't forget, Filarity did, you know, went up to the North

did, went up wherever to do Nanaka of the North and created the first quote unquote documentary in a way, which all he,

of course he had to restage because all the film burned. Yeah, there's a, but that's an interesting

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