A Quote by Ben Edwards

Due to the political nature of film, partisan film making, especially where the subject is close to the film makers hart, tend to be the norm, rather than the exception.
Indeed it can be argued that to make a powerful film you must care about the subject, therefore powerful films tend to be both political and partisan in nature.
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.
I've spent a great deal of my life doing independent film, and that is partly because the subject matter interests me and partly because that is the basis of the film industry. That's where the film-makers come from, it's where they start and sometimes its where they should have stayed.
If African film makers had one-tenth the amount commanded by film makers the world over - even the amount used by so-called shoestring film makers - I think we would see quite an explosion of African films on the world scene.
The makers of 'Ushakaal' said that if I don't do the film they would shelve the project. I didn't want a good subject to be shelved because of me so I went ahead and did the film.
Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
Film-makers in Belgium are seen as arts and crafts makers. It is a small country. There is not really a film industry there at all.
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.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
The Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.
But I don't think as film-makers it is our responsibility that every time we make a film we should be saying something. If you are entertaining people, that's more than enough.
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.
Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.
My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.
Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
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