A Quote by Kevin Macdonald
For me, the aim of making any film like this, any film about an artist, would be to send you back to the art.
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There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.
I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.
I only would say yes to a film, do a film or any project, if I think I would watch it. Whether the audience will like it, not like it, how will they take to the film, these are not things in your control and you shouldn't bother about them.
The prime motivation in making almost any film is success, because film is the art form of the 20th century.
I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.
In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.
My sense is that you can make a film under almost any circumstances. As long as someone has a vague idea of what he's doing, something distinctive will emerge. That, to me, is what film making is all about.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
We're all humans. Any human can tell any human's story. I don't want to have this conversation about black film or white film anymore. I wanna have conversations about film.
Any artist that's as serious about making music as I am, I'm cool with that. But if you tellin' me, "Man, send me a verse and I'ma send you a verse." No. That's not collaborating. We don't know each other and I'm serous about this music.
If you're making a film about a band or a songwriter or whomever, there's a publisher, there's a record label, and there are people who are vested interests in that film. But with back-up singers, because they did stuff for everybody, there's no one party that has any vested interest in seeing the story told.
During the entire process of making this film I never thought about whom I was making it for. I always thought that the film was for me, but I didn't think of any of that. I just did what I thought I had to do. I didn't think, "This is what children are going to think" or "This is what adults will understand."
The moment any film has song and dance sequences - where any time any character can start singing and dancing without any explanation - it can turn into a senseless film.
If Richard Wagner lived today, he would probably work with film instead of music. He already knew back then that the 'Great Art Form' would include a sort of fourth dimension; it was really film he was talking about.
That's the process of making the film and it isn't until the world puts their eyes to it that you find out if it's creating any kind of connection at all. But every single film at some stage of the film I think, "I wonder what this is going to be?"
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
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