A Quote by Haile Gerima
I think once you have films in certain festivals you begin to have name recognition, and there are possibilities.
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I think once you have films in certain festivals you begin to have name recognition, and there are possibilities. Especially for independent filmmakers, it's always good to try the international market because it doesn't have the same kind of baggage.
Cannes Film Festival prefers political films. We have to target certain festivals based on our films.
Quality cinema is not changing anything, everything is the same. The artistes and other people involved in these films get some recognition at international film festivals and award shows only.
I think you get in a situation where once you start hearing the boos and hearing the radio stations talk and people on the outside begin to bring your name up of being benched, then you begin to lose focus, and now your play begins to fall and you begin to focus on other things.
I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.
People in America and Hollywood are very good at pronouncing my name, to begin with. Socially, they're very adept at listening to somebody's name and repeating it, cleverly in the first couple of sentences so the name sticks to begin with.
Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.
I have seen many festival films and I will be blunt, I don't think 'Madras Cafe' was ready for festivals.
The IndyMac name had a lot of brand recognition - maybe for the wrong reasons, but there was recognition.
Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible.
Once we're willing to confront our emotional suffering, we begin making choices based on attraction instead of aversion, love instead of fear. Where we used to think about what was 'safe,' we now become interested in doing what seems right or fun or meaningful or ripe with possibilities.
In the olden days films used to become huge hits because of family audiences. But nowadays certain films cater to youth audience and once that is exploited then the film stops. and some films are for a mature audience. My aim is to satisfy all the sections of the audiences.
When people are too present, too familiar or too in our face, something happens to us psychologically. We begin to tune them out, we begin to get sick of them, we begin to know them so well and become so familiar with who they are that we loose a bit of respect for them. You pass a certain threshold with the fact that you're too present in their lives, too much in their face and once that threshold is passed you're never going to repair it they have lost a certain respect for you.
You know, I think sometimes certain players - and I don't name names - but certain players have a certain haircut, they have certain sack celebrations. They draw a lot of attention to themselves.
Film fests are an opportunity to see different kinds of films that you usually don't get to watch. When I'm part of a jury, then I get to judge films, but otherwise I attend festivals to watch two or three films a day and network with a gathering of cinema lovers from all over.
I believe, you know, as history unfolds, certain films will disappear, and certain ones will stand the test of time. And you never know which ones those are. And you've just got to go for the opportunities of films you think might be memorable.
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