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It is the great arrogance of the present to forget the intelligence of the past

Ken Burns

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Ken Burns
Age: 71
Born: 1953
Born: July 29
Actor
Cinematographer
Film Director
Film Producer
Manufacturer
Producer
Screenwriter
Brooklyn
New York
Kenneth Lauren Burns
Kenneth L. Burns
Kenneth Burns
Past
Great
Arrogance
Inspiring
Intelligence
Present
Forget

More quotes by Ken Burns

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The stories from 1975 on are not finished and there is no resolve. I could spend 50 hours on the last 25 years of jazz and still not do it justice.
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You don't work on something for six years and be blind to the myriad of other approaches.
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I wake the dead. I bring Jackie Robinson and the Roosevelts to life. Who do you think Im trying to wake up?
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I grew up certain for a while that I was going to be an anthropologist, until film turned my head.
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I am passionately interested in understanding how my country works. And if you want to know about this thing called the United States of America you have to know about the Civil War.
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Jazz is a very accurate, curiously accurate accompaniment to 20th century America.
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The genius of our country is improvisation, and jazz reflects that. It's our great contribution to the arts.
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You can learn as much about the history from reading about the present as you can vice versa, that is learning about the present through history, which is what I do for a living.
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Louis Armstrong is quite simply the most important person in American music. He is to 20th century music (I did not say jazz) what Einstein is to physics.
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People tend to forget that the word history contains the word story.
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In a sense I've made the same film over and over again. In all of them I've asked, 'Who are we as Americans?
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When you are editing, the final master is Aristotle and his poetics. You might have a terrific episode, but if people are falling out because there are just too many elements in it, you have to begin to get rid of things.
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I have made all my films for my children with the exception of my first film because my oldest daughter wasn't born when I was making the film about the Brooklyn Bridge.
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Good history is a question of survival. Without any past, we will deprive ourselves of the defining impression of our being.
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A jazz beat is a dynamic changing rhythm.
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Nothing in our daily life offers more of the comfort of continuity, the generational connection of belonging to a vast and complicated American family, the powerful sense of home, the freedom from time's constraints, and the great gift of accumulated memory than does our National Pastime.
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I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
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We strain to listen to the ghosts and echoes of our inexpressibly wise past, and we have an obligation to maintain these places, to provide these sanctuaries, so that people may be in the presence of forces larger than those of the moment.
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I began to feel that the drama of the truth that is in the moment and in the past is richer and more interesting than the drama of Hollywood movies. So I began looking at documentary films.
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I have come to the realization that history is not a fixed thing, a collection of precise dates, facts and events (even cogent commencement quotes) that add up to a quantifiable, certain, confidently known, truth. It is a mysterious and malleable thing.
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