A Quote by Deon Taylor
Being a black filmmaker, one of the things I wanted to do with the movie is make sure I told it from a different perspective. I wanted to take myself out of it as a black male. I wanted to look at this movie through the eyes of Tully, to understand what he was thinking, and feel what he was feeling as much as I could.
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I wanted to make a movie about a black family in Middle America. I wanted to make a film where everyone can look at them and say, 'This is my family.'
I wanted to just be a filmmaker, and I thought I wanted to do all the aspects, and it seemed like as a producer was the best way to do it, because I could have... You never have control on a movie, but you have as much control as you can. You can push it through, and you can hire the right people.
When we first sat down and talked about how much of the show we were going to do based on the movie, there are certainly things you can see right away, but we wanted to make sure that the audience who maybe never saw the movie or has maybe never seen any of the Marvel characters before - and I know there's three of them left on the planet - could have someone that could be their eyes and take them in.
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.
I wanted to just be a filmmaker, and I thought I wanted to do all the aspects, and it seemed like as a producer was the best way to do it, because I could have... You never have control on a movie, but you have as much control as you can.
There's a feeling of despair for some, but that's not what we wanted. Because the whole movie is without dialogue, it's more a question than an answer. We wanted to make a question mark so people could project what they wanted onto 'Electroma' - some people see it as sad, some as happy. Everyone is different.
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.
'Scary Movie' has lost its way as a franchise. It has turned into 'Disaster Film' and 'Epic Movie' and 'Date Movie' and that isn't what I wanted. I wanted to do a movie that was just grounded in a reality that went to crazy places.
I'm a film guy. I love it. When I read the screenplay, I knew that there would be no HD camera that could achieve the look that I wanted for this film. I wanted it to be dirty, and 16mm provides all of that with the look and the grain. That's what I worked for, and that's what I wanted, and that's how I'd seen the movie in my mind.
Being with Mary was different because...he wasn't the only one who wanted to make love to her. The beast wanted her, too. The beast wanted out so it could take her.
The very first idea I ever had about making a film... my first thought about ever being a filmmaker was when I was sixteen years old and I wanted to make a Viking movie. And I wanted to make it in old Norse, which I was studying at the time. It's odd because at that age that's a stupidly ridiculous idea 'cause how will I ever be a filmmaker.
Last summer when we were preparing for the movie, I actually kind of wanted to stay fairly uninformed about it. As we went through the process that we do in the movie, I wanted to be a little wide-eyed.
I wanted to do something that dealt with more of paranormal techniques that wasn't a horror movie. It is an action movie that deals with a special operations group. But if a Tier One team went in to take out Bin Laden today, if you had those kind of abilities, of course you would use that kind of group. And it was more going into that arena. And I wanted to make it feel more like, grounded, as if we had this ability.
I think it's important for people to understand that dance, movement, choreography is about an experience and entertainment but it's also about perception and a lens. So when we're talking about a Black female's experience through a Black female's lens, that's going to be totally different from a Black female's perspective through a Black male's lens.
We've been fighting our whole lives to say we're just human beings like everyone else. When we start separating ourselves in our work, that doesn't help the cause. I've heard it for years: 'How do you feel being a black filmmaker?' I'm not a black filmmaker, I'm a filmmaker. I'm a black man, I have black children. But I'm just a filmmaker.
'V for Vendetta' is an amazing movie, and it had an obvious message, but it was done so perfectly. I got out of the movie, and I wanted to march so hard. I wanted to be an activist.
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