A Quote by Andrzej Wajda
In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
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The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficial to filmmaking.
There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.
I considered going to film school; I took a course in film and was very interested in filmmaking as well as film writing.
My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
I was mostly interested in it as a theatrical film. Personally, I am not so interested in television, simply because I don't watch television myself. I'm into movies.
Several years ago, as I was transitioning from film finance to film production and writing again, someone asked me how long I would try to get back into filmmaking before I gave up? My response was "giving up" was not an option.
Our film [Hide and seek ]was created as part of the Asian American Film Lab's 11th 72 Hour Film Shootout filmmaking competition, where filmmaking teams have just 72 hours to conceive, write, shoot, edit and submit a film based on a common theme. The winners were announced during the 38th Asian American International Film Festival in New York last July. The theme for 2015 was 'Two Faces' and was part of a larger more general theme of 'Beauty'.
A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.
Kaante' will help the film industry. Very few films are like this one - pre-production in Europe, one-schedule shoot, well planned post-production.
Um, 'Soul Food'... Another wonderful little movie that could. Here's a film that, I think our budget was maybe $6 million. We shot it in Chicago in six weeks. I was so proud of the film, because it showed America that an African-American film about family could sell, could do well, could cross over and have true meaning.
I'm a believer that people need to understand that filmmaking is not a perfect process for anybody. It is a process in which you find the film and the film finds you. And that is every film.
What better way to foray into production than with 'Khaidi No 150.' The film is truly close to my heart because it is my father's 150th film.
There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.
Film and television are just different. Film is cool because it's a complete package. You know the beginning, middle, and end. You can plan it out more, which I like. But with television you get a new script every week, so it's constantly a mystery as to what you're going to be doing.
It makes sense that it's so different from film and television, because it's so in-depth. As actors, when we're in film or television, we can have transcendent moments and we get to work with really creative and incredible people, but it's such a small percentage of your time that's about your process.
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