A Quote by David Oyelowo
I have been in films before where people have been in a rush to label them as a Black film or even as a history lesson. These are ways to make the film feel niche and not for everyone.
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If you are going to call a film a 'black film' then you have to make a film that represents everyone that's black, which is almost impossible. That is why white films are not called white films, they are just called 'films.'
I wanted to make sure the focus [in The Land] was on human beings themselves and their decisions, but still connected to the urban environment that people associate as being black. I think I was able to make a film without commenting on "black this or black that" and you still feel the presence of it. There's no one character who's saying "we're all black and we're all in this struggle." It's that you just feel it. Some of that is because we get the sense from a lot of independent films that black people struggle all the time.
To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.
Even today, I'm not sure why I make films or what makes me want films. I think it's other people's films. Whenever I see a really great film, I think, 'I want to make a film like that.' And then I never do.
I have gained a lot of confidence in my process of making films. It does't mean I'll make a successful film or even a good film, but I know how to make my film.
Film is subjective, and we must be careful with that. The kinds of films I love are those that observe, and I give possibility for people to talk. No need for me to tell people what to think - even when I make a film like 'S-21.' It's only one point of view. It's still a film; it's not a tribunal.
I am aware that I have been incredibly fortunate in my life to work with the people that I have worked with and pursue the projects that I have been able to do. There are so many films that I have done that I really, as a film person, as a film fan, that I like. And that is a nice place to think of a career in.
'Crazy Rich Asians' has been compared to 'Black Panther,' but I feel like that's a false equivalency. The idea that there's only this film for Asians and that film for African Americans - it's so binary. I don't think it's like that at all. There should be and will be many films and many stories. Hopefully this just opens the floodgates.
We're told that independent film lovers... folks that are used to watching art house films, won't come out and see a film with black people in it - I've been told that in rooms, big rooms, studio rooms, and I know that's not true.
The Sixth Sense is not a good white film. Insomnia is not a good white film. They're just good films. So why we can't we have good films that happen to have black people, or Asian, or Latino, or any other minority group in them?
'Toofan Singh' is a Punjabi film based on a terrorist. The Pahlaj led CBFC banned the film because according to them the film glorifies terrorism, and that might give a wrong message to today's youth. However, the film has been released in many countries, and has been received warmly. Unfortunately, it never saw the light of day in India.
I don't make films, and because I don't make films, I'm not an expert in the craft of bringing a film into the world, how you put its various pieces together. But where I feel like I'm an expert is my own feelings in response to a film.
I just won't sing and dance in a film. But when you have a chance to star in an Abbas-Mustan film, why will anyone let it go? I have been lucky to do films which have been different from each other.
There are so few roles out there. And even if it is a film that could be led by a black actress, how many times is that film going to get funded? Let's just be real. But it's not just black people. It's Asians, it's Hispanic people if you're not Salma Hayek. It's hard. It's hard to get films funded.
There was a notion that I could do only niche films like 'Yevade Subramanyam' or 'Krishna Gaadi'... I wanted to break that and draw in a larger audience so that next time I do a so-called niche film, more people might come out to watch it.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
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