A Quote by Ben Edwards

There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.
When I was in the 12th standard itself, I decided to join the Adyar Film Institute and study photography. I specifically chose photography because I see photography as an applied science. There is an artistic element also in it. If you perfect your scientific element, you can attain certain quality.
There's a documentary film-maker called Werner Herzog, who's a German film-maker. I really dig his stuff, I'd love to chat with him.
After I finish any film, I move to the next one. It takes about a year to write and another six months are for pre-production and other things. You need a minimum of two-and-a-half months for the shooting of a new film. Then, I also edit my own film.
The only obligation you have as a film-maker is to tell your version of the truth and to use your film to illuminate reality. Whatever that means.
My experience I consider an accident in the Hollywood system. I don't believe it should be a reference for a black film maker, or an example for any young film maker, because it's purely luck.
Whenever I finish a film, I feel that this is the worst film that I have made. This is bound to happen because while writing, directing and editing a film, I would have lived it 5000 times. Naturally, one tends to loose objectivity.
I really didn't want to be boxed into becoming a certain kind of film-maker - becoming the Maori story film-maker because I had made those short films.
Yes, I am extremely choosy. You decide whether to do a film or not only after you meet and talk to the film-maker. Only someone who thinks out of the box excites me.
Small events and some songs and dance do not make a film. A film needs to have a proper structure and there has to be an output which would be relevant to people who watch it.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.
My pay packet is reasonable. But I prefer doing films where I have a meaty role. The set-up of the film and the filmmaker also matter to me. For me those are vital issues that help me decide on a film. You never sign a film only for money.
I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.
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.
At the time I left film school there wasn't a lot of hope for young film-makers. It was a calling card of film school to be quite slick and commercial, which might lead to getting some stuff on telly.
I believe that independent film making is the last frontier of creative expression available. So I'm always willing to lend a helping hand to a young film maker who's just getting into the business.
I never really make a film unless I feel like it's going to be personal and intimate, but also relevant to the audience.
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