A Quote by Barry Jenkins
As a filmmaker whose first film was made with the DIY tools of digital cinema, I love how the democratization of the filmmaking process and platforms like YouTube enables people to tell stories that in previous generations simply could not be told.
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India uses Bollywood, rather cinema, to tell its stories. It is one of the largest filmmaking nations in the world and so your talents get to tell stories about politics, love and drama through films.
Due to internal problems, 'Bluff Master' had a very limited theatrical release. However, the film was a big hit on digital platforms like YouTube and Amazon.
I always expose the apparatus. I show how the film was made. I acknowledge the filmmaker and the filmmaking.
Why do we tell stories? It's because we want to connect to people, we want to tell them who we are, we want to tell them a story that affects us, that impacts us. And to help a young filmmaker doing a short or independent film is my testament, I think, is my desire to really make sure that our younger generations get passed along all the elders' experience and to literally have the image - to literally carry them on their shoulders and say, 'This is what the world is. This is how the world operates. Let me show you how.'
It's urgent that companies tell their own stories on digital platforms.
Each of us is comprised of stories, stories not only about ourselves but stories about ancestors we never knew and people we've never met. We have stories we love to tell and stories we have never told anyone. The extent to which others know us is determined by the stories we choose to share. We extend a deep trust to someone when we say, "I'm going to tell you something I've never told anyone." Sharing stories creates trust because through stories we come to a recognition of how much we have in common.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
The way I work is I like to immerse myself in the world of the film and in the character's lives, and then from that, I get a lot of ideas of how the film could be made, how it could be told.
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.
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 think the tools were always available, for decades and decades, to make your own film and be creative. I don't think people had to wait for YouTube to do this type of small project. YouTube, I think it's great. I have this idiotic satisfaction. And I think there's a bit of that in YouTube. You share, true, but it's centralized, and it's already sort of controlled. I'm more for something that's not a centralized medium. Like doing your own film and screening it yourself. You cannot control people doing that.
When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.
We're trying to tell stories. We're a company that's concerned with global change and the effect of global cinema. We're not simply tied to the very limiting framework of U.S. film-making.
The success of 'Dhruva' has given me more satisfaction than any of my previous hits, simply because the audience accepted the film even though it was experimental. I really hope this kind of acceptance makes experimental cinema the new mainstream cinema.
There's not a formula that I'm following; it's just how I feel at the time. For instance, I did a very experimental film called 'Hardcore Henry,' and that was simply because I thought the filmmaker was very interesting and a risk taker. A film like that had never been made before, so I chose to do that at the time.
For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.
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