A Quote by Lee Isaac Chung
I filmed my first narrative feature in 2006, a story set in Rwanda called 'Munyurangabo.'
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In 1990 I did a story with Helena Christensen about a woman who lives in a trailer in the middle of the desert and finds a little crushed UFO with a martian who has survived the crash. She takes him home, and they fall in love. Later he has to meet with his fellow martians who have arrived to rescue him. It's a sad ending. This was my first truly narrative story and apparently the first narrative story in fashion photography.
The narrative constructs the identity of the character, what can be called his or her narrative identity, in constructing that of the story told. It is the identity of the story that makes the identity of the character.
My first narrative films developed out of a documentary process - finding someone who was willing to be filmed, watching, listening, taking copious notes and many hours of video footage.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
'Lucky Life' is my second narrative film. I worked on the idea for 'Lucky Life' while in Rwanda for my first film.
I'm interested in taking raw human emotions and then isolating them without any narrative structure. In order to achieve this, I try to break out of the narrative conventions that you'd see in a typical feature film.
In order for a narrative to work, the primary character should have a concrete desire - a need that drives her story - and the story's writer should make this goal known to the reader pretty early in the narrative.
A few years ago I appeared on GLEE and, Jane Lynch and I did a remake of the song that was very popular - someone told me it was in the Top 100 when it was released. First, walking on the set of GLEE the day we filmed it was surreal as they had recreated the entire original set from the music video. It was bizarre - but fun.
One easy mistake to make with the first novel is to expand the short story. Some things are better as a story; you cannot dilute things into a novel. I think the first hundred pages of a novel are very important. That's where you set things up: the world, the characters. Once you've set that up, it'll be much easier.
You want to understand the smallest feature set customers will pay for in the first release.
While the story about the hunt for bin Laden has been exhaustively reported and the key sources and witnesses are in agreement about the main points of the narrative, of course, it's still possible that we could learn new details about the story that would add to the narrative.
We filmed part of it here at the Alex Theatre in Los Angeles, and then we filmed the other part of it in Oklahoma because that's where I live. It's called 'Darci Lynne: My Hometown Christmas.' We wanted to incorporate that I celebrate Christmas just like any other kid.
I just know that making 'Beast' was an amazing experience. It was my first feature, it was the director's first feature, and every day, you're just trying to do good work and learn.
The story of U.S. policy during the genocide in Rwanda is not a story of willful complicity with evil. U.S. officials did not sit around and conspire to allow genocide to happen.
So this is why I'm always say happy that somebody mentions Rwanda, because behind Rwanda, we have Africa.
I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story.
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