A Quote by Panos Cosmatos
Well I don't think of myself as like a horror or science fiction filmmaker. I just think of myself as a filmmaker.
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I've never seen myself as a documentary filmmaker. I see myself as a filmmaker, period, and I am interested in drama as well as in documentary.
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 really think of myself just as a filmmaker.
I don't consider myself a sociologist, I consider myself a filmmaker, among other things. Maybe an asshole but a filmmaker.
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 necessarily consider myself a horror filmmaker.
I'd love to just think of myself as a filmmaker, and I wait for the day when the modifier can be a moot point.
I don't think of myself as a director or writer. I think of myself as a filmmaker.
I grew up as an artist. Science fiction allows for design and creatures and guns and all the stuff that I like as well. So I think most of the films I make, I'm sure, will be in that category. But I can also see myself making a film like 'Black Hawk Down,' and I could also totally do horror.
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 think of myself as a cultural filmmaker.
What I react against in other people's work, as a filmgoer, is when I see something in a movie that I feel is supposed to make me feel emotional, but I don't believe the filmmaker shares that emotion. They just think the audience will. And I think you can feel that separation. So any time I find myself writing something that I don't really respond to, but I'm telling myself, 'Oh yes, but the audience is going to like this,' then I know I'm on the wrong track and I just throw it out.
With filmmaking, I for so long was like, oh, I need permission to go out and be a director and be a filmmaker. And I read Robert Rodriguez's 'Rebel Without a Crew.' He just went out and did it, man. In his book, he even says just put your name on a business card and say you're a filmmaker. Congratulations, you're a filmmaker.
I try not to think of myself as a woman filmmaker. I don't look for women influences. I have noticed in the past few years that there is a certain ceiling that a woman filmmaker can reach. I don't believe that it's sexism per se, but there are certain expectations in the industry about what films should be, how they should be made, what stories they should tell, and it's a habit, it's a tradition.
I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo.
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.
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