January262012
”Nothing in this world happens unless white folks says it happens.”
“And therein lies the problem of being a professional black storyteller, writer, musician, filmmaker. Being black is like serving as Hoke, the driver in ‘Driving Miss Daisy,’ except it’s a kind of TV series lasts the rest of your life: You get to drive the well-meaning boss to and fro, you love that boss, your lives are stitched together, but only when the boss decides your story intersects with his or her life is your story valid. Because you’re a kind of cultural maid.”
“When George Lucas complained publicly about the fact that he had to finance his own film because Hollywood executives told him they didn’t know how to market a black film, no one called him a fanatic. But when Spike Lee says it, he’s a racist militant and a malcontent. Spike’s been saying the same thing for 25 years.”
(Source: Los Angeles Times)
January112012
UK Prime Minister David Cameron says he wants to rival Hollywood in the box office by encouraging more commercially successful British films.
“Our role, and that of the BFI, should be to support the sector in becoming even more dynamic and entrepreneurial, helping UK producers to make commercially successful pictures that rival the quality and impact of the best international productions. Just as the British Film Commission has played a crucial role in attracting the biggest and best international studios to produce their films here, so we must incentivise UK producers to chase new markets both here and overseas.”
Funnily enough, I see Cameron’s point. Hollywood has been so dominant overseas for so long (since the World Wars) that it’s about time to rectify the situation. But, as Ken Loach says in the article, “If you knew what was going to be successful before you made it then we’d all be millionaires.” If you’re thinking about the money first and foremost in filmmaking, then it’s likely you’re going to fail anyway.
