A Quote by Beeban Kidron
The film that changed my life is a 1951 film by Vittorio De Sica, 'Miracle in Milan.' It's a remarkable comment on slums, poverty and aspiration.
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Vittorio De Sica famously made 'Bicycle Thieves'; that's the film of his everybody knows.
Vittorio De Sica's 'Bicycle Thieves' changed my very idea of cinema.
I liked Vittorio De Sica a lot, and I got to work with him once in a segment movie. He was a great director. He was a very charismatic character and a guy I watched a lot when he was directing.
The film business has so many twists and turns that its a miracle any film gets made.
When the producers of 'Why Poverty?' came to me to do a film about poverty in the United States, I asked if I could do a film about wealth instead. I tend to make films about perpetrators, rather than victims.
'Red Knot' is a film that I shot in Antarctica almost three years ago on a boat. It was a film that was improvised and it had very interesting circumstances while making the film, obviously. We were on a small boat bobbing around in Antarctica. It was a really remarkable experience.
Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
'Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
Any film that supports the idea that things can be changed is a great film in my eyes.
The digital revolution has changed the way we do things because you're not under that pressure that film is precious and film is expensive.
Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.
The Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.
The cinematography and the conditions in which 'Meru' was filmed drew me to the project. It's remarkable to think that everything in the film is real; these three men set out to attempt this impossible climb and to film it at the same time.
To make a film is easy; to make a good film is war. To make a very good film is a miracle.
Growing up in Kenya, slum life was not far away. I had family that lived in slums, so I visited them often, and so I've seen and interacted with abject poverty. But I also know that because of that, poverty is not the definition of the people that live there.
I don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.
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