A Quote by Dexter Fletcher
'Sunshine' is really an experiment for me to see if I am a filmmaker beyond having my own stories to tell.
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I'm not going to be labeled a black filmmaker. I am not here to just tell black stories. I'm here to tell all kinds of stories, musicals and dramas.
To me, having the courage to tell your own story goes hand in hand with having the curiosity and humility to listen to others' stories.
I wanted people to know that I'm not just a guy who does weird videos on the Internet. I actually am a filmmaker, and I can tell stories, and I can create something that's 90 minutes long that feels just like any other movie you see in the theater, and hopefully enjoy.
Real power is having the ability and the resources to tell an amazing story or to say 'yes' to a filmmaker and change not only the filmmaker's life but the world.
I really am just trying to tell stories. But stories are often grounded in larger events and themes. They don't have to be - there's a big literature of trailer-park, kitchen-table fiction that's just about goings-on in the lives of ordinary people - but my own tastes run toward stories that in addition to being good stories are set against a backdrop that is interesting to read and learn about.
There are stories I'd like to tell, I'd like to see, and they're not getting made. These stories are beyond the experience of the people in power. They don't understand it, so they're frightened of it.
To be honest, I am not especially pleased to be slotted primarily as a 'woman filmmaker', but it's okay with me. Plus, I see the relevance and the strength of having a distinctive subject and drift for promotional purposes
I'm not the greatest reader. I feel like I have a bit of dyslexia or something, and that's probably why I became a filmmaker. I have the need to communicate, the need to tell stories; and the need to understand stories led me to movies.
AS SOMBRAS DA ALMA. THE SHADOWS OF THE SOUL. The stories others tell about you and the stories you tell about yourself: which come closer to the truth? Is it so clear that they are your own? Is one an authority on oneself? But that isn't the question that concerns me. The real question is: In such stories, is there really a difference between true and false? In stories about the outside, surely. But when we set out to understand someone on the inside? Is that a trip that ever comes to an end? Is the soul a place of facts? Or are the alleged facts only the deceptive shadows of our stories?
What is my intention being a filmmaker? To make as much money as possible, or get as much attention as possible? It's not really either of those things. Now I can tell the stories that I want to tell.
We need to have more women founders stepping up to kind of own their own story and ask for what they want and tell success stories and start really building confidence that these stories are out there.
During the Q&A periods after my speeches, it is the men who say to me, "Help me understand how I am going to balance my work and my family." Now, let me tell you why I believe they see it that way. Because when they look around the room, they see the women who are going to be in their lives, the choices they will have for a spouse. And they realize that these women are educated, ambitious, and have every intention of having careers of their own.
It's only the filmmaker. The script is really, really second. And there's a huge gap between filmmaker and script for me. I almost don't care about the story that they're telling; I really only care about who wants to tell it.
This is my life - I want to tell stories. There is something huge inside me that pushes me to tell stories, and tell stories for an audience and everybody.
For me, I want to see diversity in storytelling sources because we live in a very diverse society, and the stories are for the whole society. That's really important. For me, as a female filmmaker, when I was out on the festival circuit on 2006, I felt like such a freaking anomaly - an oddity.
Would you leave me alone, you walking pair of boots! Let go of my easel, you refugee from a luggage factory. If you need some wood for a toothpick, there’s a bunch of it on the porch. (Sunshine) Beth. What are you doing?...She says she was forcing you inside before it got dark and something decided to eat you. (Talon) Tell Swamp Breath I was headed this way. Why was she…Oh jeez, am I really have a conversation with a gator? (Sunshine)
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