A Quote by Ava DuVernay
To pretend like Hollywood is anything other than that is disingenuous. #OscarsSoWhite is trendy, but for women filmmakers and filmmakers of color, it's not a trend. This is our reality, and it's important that we do something to change it.
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True change is a long game, and it remains to be seen if this is change. We've had years before where there have been great years for filmmakers and performers of color, LGBTQ filmmakers and performers, women.
Filmmakers are always in a bubble; along with our crew or writer, we don't really get to socialize with other filmmakers, so the great thing about Sundance is you can see many other filmmakers doing the same thing you do.
The filmmakers are very much in their own kind of bubble. It was kind of a revelation to me and I realized why so many of the great filmmakers are one of a kind people. You know, they have a vision. They may be influenced by other filmmakers, but they don't work with them on anything.
We need more filmmakers of color telling the story. I'd like to see more filmmakers take their products out independently, put together a good commercial film and distribute it online.
I think women should support each other's work, encourage each other's work, help develop each other's voices and I think, ultimately, when we can stop having the conversation about 'women filmmakers', and just talk about 'filmmakers', then we'll know we've really gotten somewhere.
Even before the economic crisis in Greece there was no structure for making films - no proper industry, and the structure didn't help filmmakers at all. So filmmakers had to help each other, and make very, very low-budget films. Now with the crisis, things got a bit worse, but filmmakers are still going to be making films. It didn't change that much.
If Madhur Bhandarkar makes a movie tomorrow, people will expect him to do something like 'Chandni Bar' or 'Corporate!' Similarly, it takes time for filmmakers to break that stereotype and attempt something new - it is difficult for filmmakers to be versatile in Bollywood.
The movie studios, they only like to make - I make a joke, but it's true - if the movie has the word "man" and a number in the title, they'll make it. If it doesn't have that, it's an R-rated raunchy comedy, and that's it. Any other movie that you're going to make is going to be an independent one. So for filmmakers who want to do something other than "man" and a number, it's either independent films or television, which is like the place for real creative filmmakers to go.
As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.
I think filmmakers, in general... There are some awesome, really great filmmakers - but on the whole, filmmakers, actors, I think they are the biggest bunch of whiny, over-paid babies on the planet.
A lot of the surreal filmmakers, like David Lynch, Alejandro Jodorowsky, or countless other underground filmmakers... Their sense of explosive images have always dominated their films. It's a way to shock the senses, to make them open themselves.
I'm influenced by a lot of filmmakers; I like English filmmakers because I feel a kin to them.
I don't like it when filmmakers say, 'Just come like this, sir.' I like to experiment with my makeup. I wish more filmmakers let me do that.
Female directors really do need to support each other. Too many times I've been led to believe that my direct competition was other women, as if there can be only a handful of successful female filmmakers a year. That conversation, that perception, needs to change. Women are the people who have helped me make films I love, and I want to be that kind of strength to other women.
I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
I've seen so many young filmmakers - even professional filmmakers who get a Hollywood deal - they don't quite know where to begin, where to end, and they'll waste a lot of time making this perfect shot, an establishing shot, and then there's no time left to shoot the dialogue.
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