A Quote by Cameron Crowe
I'm proudest of the fact that I've been able to make a few movies in the studio system that are slightly unorthodox and personal. But it's never quite as easy as you dream that it could be.
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European films had art. And it was easy to make a European film. They didn't come from the studio system, they weren't shot in sound studios, and that's a good thing, because in the studio system those movies would never have had a chance. And since we were coming from Europe, it was natural for us to use that simple style. Small budgets, less equipment, that was just how it was.
Indie movies got co-opted by the studio system. The studios insisted that only stars could make movies successful.
It really has been a blessing because you can go and look at our other movies we've done in a studio system. We didn't get to make the movie that we wanted to make. We made the movie that someone else wanted us to make. That can be a little disheartening, a lot disheartening. While there have been struggles, it doesn't matter which table you're at because you're going to have obstacles, but I kind of like being able to make the movie that you want to make.
In the '90s, indie movies could get financing, because financers gave money straight to directors... Now it's a different system. Indie movies got co-opted by the studio system.
The world has improved mostly because unorthodox people did unorthodox things. Not surprisingly, they had the courage and daring to think they could make a difference.
I have only a couple of Super 6s now, but I do have quite a few black-face Fenders around the studio. They all have slightly different character and tone, so I keep collecting them.
Growing up, I was obsessed with Disney movies like 'The Little Mermaid,' 'Aladdin' and 'Beauty And The Beast.' I was always singing the songs from these movies, so to find myself in the studio with Alan Menken was an amazing experience. In fact, it was a dream come true.
In fact, the influence of Schoenberg may be overwhelming on his followers, but the significance of his art is to be identified with influences of a more subtle kind - not the system, but the aesthetic, of his art. I am quite conscious of the fact that my Chansons madécasses are in no way Schoenbergian, but I do not know whether I ever should have been able to write them had Schoenberg never written.
I'm what they call a 'non-black person of color': NBPOC. It's easy and seductive and common to mobilize around these identity issues, but often that's done at the expense of considering structural anti-blackness. That puts everything in a slightly different light for me, especially because of where I am and why - where I am in the world of the arts, where I live, in Harlem - and the music that I've been able to make, whom I've been able to make it with, who has nurtured me. It's not just about solidarity. It's actually about debt.
Movies have been doing so much of the same thing - in slightly different ways - for so long that few of the possibilities of this great hybrid art have yet been explored.
Well, in our industry it's that the movies cost so much money to make they have to appeal to a broad audience. And I think that's part of what will loosen up in the future, as technology makes it cheaper, you'll be able to make films for a more selective audience. I think people will be able to make more personal movies.
The first suicide bombing that entered my consciousness was the Beirut embassy bombing. It was very personal. I'd been in the embassy and I knew most of the people in the station who were killed in the bombing. So you take the personal aspect of it and the mystery of who the bomber was and the fact that a small group of people could drive us out of a country that was absolutely key to the United States, and what was behind this... The fact that they've been able to hide the embassy bombers' identities for all these years tells me we're up against a very capable movement.
I'll still make movies for studios, but my editing process will be much further removed from the studio system. Because I don't understand it. I don't understand the whole testing-numbers thing. It is not how I want to make movies. So if that's how they do it, then I don't think I want to do it.
I would never go to a studio. I need my space, you know what I mean? I need to be able to chain smoke and pace about, cry and like... spit. Just make noise, make a huge mess. I also feel like if I was concerned for the cost of the studio - like, 'this is costing 40 dollars an hour' - I wouldn't be able to work.
I don't think people have been able to deal with the fact that African American filmmakers can make movies about life and relationships.
The main reason I got into comedy was in the hope that I could make a few people laugh and feel better about life, and the fact that I do that is quite overwhelming, really.
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