A Quote by Glynn Turman
If you take the '70s with Blaxploitation pictures, there was a proliferation of black-content films and motion pictures, television, stage plays and so forth at a time when Hollywood was in trouble financially, and it was cheaper to do black films to keep the lights on until they could reestablish themselves.
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Blaxploitation films were black films targeting black people. They were films made to appeal to a culture in a way that was supposed to be unfiltered.
'Luke Cage' came out in 1972 at the height of the blaxploitation era. It was a literary response to this notion of blaxploitation movies. It was the first time in American culture that Hollywood was embracing black movies.
We know of instances of stage plays being made into films. But I really think that all Tamil films can be staged; I'd like to take up K. Balachander's films and do that.
I think I entered the market around the time when there was getting to be less snobbery about the difference between feature films and television. I think there's been a lot more receptivity on television to interesting adult stories that in the '60s and '70s would have been made into feature films. I have no problem jumping back and forth. If anything, I find it less restrictive working in television.
I know a lot of people who enjoy rap music who aren't black. You can't just say it's black music. To segregate films the way Hollywood likes to segregate films, ultimately everyone loses.
I have two different categories of favorite films. One is the emotional favorites, which means these are generally films that I saw when I was a kid; anything you see in your formative years is more powerful, because it really stays with you forever. The second category is films that I saw while I was learning the craft of motion pictures.
It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.
Finnish forests: Let us remind the satellite pictures of the 1970's winter in which the old forest appeared black and young forest and cut downs white. Already then the Finnish borders were like drawn on the map: White Finland between black Karelian and black Sweden. Finnish Forest Research Institute hicced up some time and then decided that the pictures are fake.
My father did think I should get interested in television. But I had very little interest in television and it wasn't something I wanted to do. I really never thought about going to work on big feature films in Hollywood. But when we made The Householder, Columbia Pictures bought it. Who would have ever imagined?
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.
There is an obsession with black tragedy. If you see a black movie, it's typically historical, and it tends to deal with our pain. And listen, there have been some excellent films made in that vein, and there are some painful parts of black history that should be explored, but it is kind of weird that only those films bubble up to the surface.
My films generally center around thousands of pictures being flashed in rapid succession to create the illusion of motion.
I personally don't enjoy films that bring black people down. I find that a majority of the films that black people are starred in nowadays, are ones focused on gang violence or dancing.
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 wasn't an actor. They they take the externals. Here I was, a kid thrown into Hollywood with a brand-new name, starring in motion pictures.
It really upsets me that the media insists on turning 'Do the Right Thing' or 'Boyz N the Hood' into 'black films.' They are American films. They may open the window on the black experience, but they had things to say to everybody. That's why they were so successful.
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