A Quote by Rick Famuyiwa
I think Black cinema is thought of in small terms. That's where most of the problems come from. When there's a film that has success, like in the '90s with the crime hood films; when one of them does well, it becomes the replication, or there's a romantic comedy that breaks out, it becomes a singular way of looking at it.
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Mainstream cinema exists in most large industries and then there is the alternative cinema which does not follow the conventions of the mainstream movies. But when your film is small and does not have A-listers, then you have a limited budget and it becomes hard to release your film.
Well, I think by and large, certainly in terms of cinema, American culture dominates our cinema, mainly in the films that are shown in the multiplexes but also in the way that it has a magnetic effect on British films.
I don't want to be typecast as a heroine who does a certain kind of cinema, which is why I experiment with the types of films that I do. But yes, I won't deny that romantic love stories or romantic comedies are what I enjoy doing the most, because as an audience those are the kind of films that I like watching.
Humour and high seriousness... Perfect bedfellows, I think. Though I usually phrase it in terms of comedy and darkness. Comedy without darkness rapidly becomes trivial. And darkness without comedy rapidly becomes unbearable.
I think that what I learned then, I didn't know I was learning. I just knew that I was very privileged to see somebody who was a writer, a great poet, and very smart-faced. Suddenly Pasolini becomes a director, so he has to invent cinema. It was like watching the invention of cinema. But I found out that Pasolini taught me a lot. It was, especially, the kind of respect that he had for reality. He had kind of epiphanies in his movies, like when a moment becomes full of grace, and it is like as if it was the most important moment in the life of a character.
I've done interviews in one day that went on for fifteen, sixteen hours. And at a certain point, the control over what they're saying breaks down; it becomes different. It becomes really powerful, and for me, real. It becomes out of control.
I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'
In terms of romantic films, all-time romantic films, I really like 'Gone With the Wind.' And I realize I sound so cliched saying that, but there's something so absolutely romantic about it.
I thought if I could do stand-up comedy well enough, I could parlay it back into films - like Charlie Chaplin and Woody Allen did. They merged principles of comedy and drama together, and that's what my first film really was, a stab at that kind of comedy.
When a bud breaks it becomes a flower, when a heart breaks it becomes divine.
The most contemporary film I can think of is your standard romantic comedy, but the minute you make them, they already look so aged.
I try to create a very casual working place, where everybody - down to production assistants - can throw out ideas and not feel intimidated. When it becomes a collaborative environment, it becomes a small family, and everybody becomes invested.
Well, see, I think it's that most people don't like that lonely feeling. People don't like looking up and feeling small or lost. That's what I think prayer is all about. It doesn't matter which stories they believe in, they're all doing the same thing, kind of casting a line out to outer space, like there's something out there to connect to. It's like people make themselves part of something bigger that way, and maybe it makes them less afraid.
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
I like books like 'The Suspicions of Mr. Whicher,' where the investigation of a crime becomes a way into an exploration of the society where the crime took place.
Yes. The way people behave, the paradoxes, the contradictions. All these things we have to live with and still pretend that everything is only black or white. That, I think, is the most interesting thing in human nature. The fact that we have to do one thing and pretend something else. That’s when it becomes very interesting. If you can literally speak the way you feel, then it’s not interesting anymore. It’s when you have to lie that it becomes interesting.
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