A Quote by Juliet Asante

As a filmmaker, I want to be known as a pan-African filmmaker and this is because I think that we have more to gain as Africans than as individual countries. — © Juliet Asante
As a filmmaker, I want to be known as a pan-African filmmaker and this is because I think that we have more to gain as Africans than as individual countries.
Some black filmmakers will say, "I don't want to be considered a black filmmaker, I'm a filmmaker." I don't think that. I'm a black woman filmmaker.
I feel like I've been observed as an individual more than a gay person, or as a filmmaker with a certain point of view rather than a lesbian filmmaker with a gay point of view.
But I did on projects that I produced, that I directed, that I acted in because it was important. I want to be a filmmaker. I don't want to be an actor who directs, I want to be a director. I want to be a filmmaker. So that's a big difference.
There are some people who are happy to be African writers. They are pan-Africanists. I'm not a pan-Africanist. I think African countries have a lot in common. But we are also very different.
I don't know of a more noble, a bigger deal as a filmmaker than to be a YouTube filmmaker.
But if you, as an independent filmmaker or a "serious" filmmaker, think you put more love into your characters than the Russo Brothers do Captain America, or Joss Whedon does the Hulk, or I do a talking raccoon, you are simply mistaken.
I'm a film director. Gay is an adjective that I certainly am, but I don't know that it's my first one. I think if you're just a gay filmmaker, you get pigeonholed just like if you say I'm a black filmmaker, I'm a Spanish filmmaker, I'm a whatever.
I don't want to become an ivory tower filmmaker. That sounds peculiar, but I want to be a mainstream filmmaker. I want the largest possible audience that I can find - but, of course, on my terms.
I think every filmmaker wants... I don't know about every filmmaker. I certainly want my films to just exist. I want them to be judged for what they are and analyzed, accepted, criticized, whatever you want to call it, on their own terms, not as part of some mall-cop genre.
When we play at the World Cup, any African will back any African team. Because we want to hear the different approach to African football. We want to hear that Africans can do well, and Africans do well.
I was an audience member before I'm a filmmaker. All I've tried to do as a filmmaker was to make movies I want to see.
I think we're used to the black filmmaker coming in and making the all-black subject matter. Especially at Sundance, they're looking for that. It's funny because amongst my filmmaker friends talk about this.
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.
I don't want to be the Asian filmmaker; I just want to be a filmmaker. I want to be Spielberg. I want to be Tim Burton.
I didn't have the sensibilities of your ordinary filmmaker, let alone your ordinary African-American filmmaker. My heroes were John Waters, Pedro Almodovar, and actors that were part of that world.
I knew I needed to make a studio film - not for any financial reason, but because, as a filmmaker, and especially as a female filmmaker, you have to break through the glass ceiling.
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