A Quote by Omari Hardwick

Real to Reel is a rare opportunity for new filmmakers to screen their work for industry insiders. — © Omari Hardwick
Real to Reel is a rare opportunity for new filmmakers to screen their work for industry insiders.
In Mexico, there are good filmmakers, but they didn't always have the opportunity to show their work. But since 'Amores Perros,' many of these filmmakers had the opportunity to show their films, and they have a newfound energy for cinema.
I watch a lot of Turner Classic movies. But I don't do private screenings. I don't have the old school, reel to reel projectors. I do have a big screen TV, though.
Charlie Sheen gave me a signed headshot. I think it said, 'Keep it real.' But 'real' was spelled 'reel,' like a film reel.
What I hope is that this wider pattern of films about slavery that's emerging isn't just a fad but evidence that we've turned a corner as filmmakers of color and that we're moving forward in our confidence and in the film industry not being afraid of our telling these stories and in giving us the opportunity to bring our vision to the screen.
Tribeca Film Festival Doha will be both an industry festival and an audience festival, not just an event for insiders. Community outreach will be a major part of what we're doing. We'll put filmmakers in touch with local, regional, and international audiences.
People admire a screen actor if they have theatre skills, but it's looked down upon by the industry as being not a 'real job,' in the way it isn't in New York or the U.K.
Men starting out have so many options of filmmakers to connect with artistically and be shepherded by and collaborate with. I just didn't have an older, more experienced me to help me. So I hope all the women making movies now are aware we have the opportunity to be that to new filmmakers.
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.
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!
The history of the music industry is inevitably also the story of the development of technology. From the player piano to the vinyl disc, from reel-to-reel tape to the cassette, from the CD to the digital download, these formats and devices changed not only the way music was consumed, but the very way artists created it.
The history of the music industry is inevitably also the story of the development of technology. From the player piano to the vinyl disc, from reel-to-reel tape to the cassette, from the CD to the digital download, these formats and devices changed not only the way music was consumed, but the very way artists created it.
I just think that I was very fortunate to have had the opportunity to work with some very fine filmmakers in the industry. I worked with some wonderful people on some really interesting projects. So I consider myself very fortunate.
The 2014 election has given the GOP the rare opportunity to retroactively redeem its brand. The conventional perception, incessantly repeated by Democrats and the media, is that Washington dysfunction is the work of the Party of No. Expose the real agent of do-nothing. Show that, when Harry Reid can no longer consign House-passed legislation to oblivion, Congress can actually work.
Most filmmakers looked at it as a medium to palm off sub-standard stuff. I don't look at it like that. Your TV screen, mobile screen is as relevant as a cinema hall.
The Real is ever-present, like the screen on which the cinematographic pictures move. While the picture appears on it, the screen remains invisible. Stop the picture, and the screen will become clear. All thoughts and events are merely pictures moving on the screen of Pure Consciousness, which alone is real.
I was working with real artists [in the Rum Diary], and that's difficult to do and very rare, in this industry, ironically.
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