A Quote by Christopher Guest
I'm not really premeditative in any way at all. I come up with an idea, hopefully for a film, and then I'm lucky enough to do the film.
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In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.
'Black film,' unless it's lucky enough or creative enough, or timely enough to build a life of its own, hangs subjacent to 'white film' on Hollywood's financial score board... aided and abetted by the supposition that so-called black film has no foreign market.
When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'
I was lucky enough to come in at the beginning of the independent film movement, and it's really shaped my life and my career.
I think film and television - particularly film - you are very isolated as a writer. If you're lucky, you have a good relationship with the director. Then you do make that development and come on set and be part of something. But ultimately, your work is kind of done by the time you come on set.
'Lucky Life' is my second narrative film. I worked on the idea for 'Lucky Life' while in Rwanda for my first film.
See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There's really nothing to be afraid of.
I did a short film called 'Disco' and won an award for Best Supporting Actor at an indie film festival, and that was nice. Hopefully there's lots more to come.
I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.
When I do a film score, I am basically nothing more than a fancy pencil for hire. I don't own any of the music when I am - it belongs to the film company - and likewise, when I am done, even if I come up with something astounding that I may want to revisit... in the world of film composition, you can't do that.
As long as somebody finances you, can make a film and get it seen any place and in any language; then, hopefully, it's a success.
It's so hard to get started creatively - it's really hard to get those first ideas out. You just have to do it over and over again, and hopefully better ones start to come. Also, anytime a good idea comes up, for a long time I think, "Oh, my God, that was so lucky that I thought of that idea, whew, I hope that happens again." The more you work at it, the more it happens, but it still feels lucky.
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.
I was lucky enough to be the lady that was asked to be Maria in the Sound Of Music, and that film was fortunate enough to be huge hit. The same with Mary Poppins. I got terribly lucky in that respect.
African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.
I can't believe 50 years have gone by since that film was released. I blinked and suddenly here I am. We all really felt blessed and as for me; how lucky can a girl get. Great music does more than enhance a film, it cements our memories in the film going experience.
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