A Quote by Maimouna Doucoure
It's important to be vigilant at all stages of the making of a film. The theme of a work should be represented properly.
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It's important that we're properly represented and for viewers to see all the bits and pieces of being a woman of color.
Our film [Hide and seek ]was created as part of the Asian American Film Lab's 11th 72 Hour Film Shootout filmmaking competition, where filmmaking teams have just 72 hours to conceive, write, shoot, edit and submit a film based on a common theme. The winners were announced during the 38th Asian American International Film Festival in New York last July. The theme for 2015 was 'Two Faces' and was part of a larger more general theme of 'Beauty'.
In any institution-factory, university, health center, or whatever-there are a variety of interests that ought to be represented in decision-making: the work force itself, the community in which it is located, users of its products or services, institutions that compete for the same resources. These interests should be directly represented in democratic structures that displace and eliminate private ownership of the means of production or resources, an anachronism with no legitimacy.
When I work on a movie, I look at the script or watch the film, and I talk to my director or producers and make a plan: this is our main character; we need a theme for this plot. We need a love theme.
Artists have to be represented properly and paid properly.
I think it's really important that we see women represented properly in TV, and that's a multi-dimensional person: a real human being who's flawed, who's weird, who's awesome.
Story is important but the most important is the theme and how you're going to convey theme cinematically. I'm a believer also.
When making a film, I'm never concerned about whether the theme is new or whether it's been done before in cinema or not. I'm led to make films if there's a theme that interests me or I experience something in my own life that confronts me with something that I want to deal with.
There are stages in bread-making quite similar to the stages of writing. You begin with something shapeless, which sticks to your fingers, a kind of paste. Gradually that paste becomes more and more firm. Then there comes a point when it turns rubbery. Finally, you sense that the yeast has begun to do its work: the dough is alive. Then all you have to do is let it rest. But in the case of a book the work may take ten years.
I would say the three stages of making a film are the initial 'are we gonna do this,' 'how much will I be paid,' is there a lot of nights, who's it going to be with? The second stage of doing a film is how much fun your going to have doing it. The third stage is was the film a hit?
It's really important to remember that disability is diversity, and that disabled actors and disabilities are something that is hugely under-represented in film.
I work with amazing organisations: I work with I'm A Performer With Disability, and I work with a clinic which tries to get opportunities for people with disabilities to work in the film and TV industry, and we're making strides, and they're making strides.
A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.
It's important for me to not historicize. I work to diffuse the issue of identity and to intensify identification. You have to lose your authority in the making of a film to achieve this. The film is about me being absolutely dislocated. I focus on the very personal to arrive at the very political.
Here is how I work: when I think that a film needs to have a principal theme, I search for a melody.
If it's a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it's a failure. That is what I think.
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