A Quote by Helen Baxendale
It will be very exciting to watch how the industry responds to filmmakers getting closer and closer to their audiences - and they must, as for too long it has been quite impossible for filmmakers to actually get anywhere near to revenues arising from their work. Too many middlemen!
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The filmmakers are very much in their own kind of bubble. It was kind of a revelation to me and I realized why so many of the great filmmakers are one of a kind people. You know, they have a vision. They may be influenced by other filmmakers, but they don't work with them on anything.
I was an executive producer. I've done a lot of jobs and I think each one helps you get closer to what you want as a director. It also helps you - when you work with different filmmakers - to absorb, to adapt, to know what to watch out for, to know pitfalls.
I've always been very ambitious, and I always knew that I wanted something else. Cuba was a good start, but I knew I wasn't going to develop a real career, and I wanted to get closer to filmmakers that I wanted to work with.
I think my life has been a long, slow process of trying to move closer and closer to the spirit by moving closer and closer to the heart. The heart is what's important.
I am closer and closer to reaching my childhood dream. This is really exciting! I will continue to work hard, to focus on each tournament I play.
'Ageism,' or whatever you want to call it, is a very English phenomenon. You don't get it too much in many other cultures. And no one says it about authors or poets or filmmakers. 'Oh, they're too old to make films or write books.'
Filmmakers are always in a bubble; along with our crew or writer, we don't really get to socialize with other filmmakers, so the great thing about Sundance is you can see many other filmmakers doing the same thing you do.
"Ageism" or whatever you want to call it, is a very English phenomenon. You don't get it too much in many other cultures. And no one says it about authors or poets or filmmakers. "Oh, they're too old to make films or write books." You know what I mean?
Even before the economic crisis in Greece there was no structure for making films - no proper industry, and the structure didn't help filmmakers at all. So filmmakers had to help each other, and make very, very low-budget films. Now with the crisis, things got a bit worse, but filmmakers are still going to be making films. It didn't change that much.
I've seen so many young filmmakers - even professional filmmakers who get a Hollywood deal - they don't quite know where to begin, where to end, and they'll waste a lot of time making this perfect shot, an establishing shot, and then there's no time left to shoot the dialogue.
I like to work with artists from around the world. There are so many new inspiring filmmakers. I had the privilege recently to work with Ethiopian filmmaker Zeresenay Mehari and his wife on the film Difret. They are that unique balance of very thoughtful conscious filmmakers who are also brilliant, original artists.
Formal education must change. It needs to be brought into closer alignment with the world as it actually is, into closer harmony with the way human beings actually learn and thrive.
Filmmakers get into trouble when they're watching too many DVDs and quoting all the time.
Indeed, what is there that does not appear marvelous when it comes to our knowledge for the first time? How many things, too, are looked up on as quite impossible until they have been actually effected?
As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.
If the elbow had been placed closer to the hand, the forearm would have been too short to bring the glass to the mouth; and if it had been closer to the shoulder, the forearm would have been so long that it would have carried the glass beyond the mouth.
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