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That force - which the system tried to laugh at - when it finally broke through and the movement was recognized, the media said they were "just a bunch of spoiled kids, dope smokers who don't know what the hell they want." To demean it as something laughable - but that didn't work for very long. It's still an ongoing struggle; they're trying to find out how to fight. It's very exciting times.
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There is a very particular feeling I get when I have the camera in my hand, looking at an actor talk, knowing that what Iām shooting will end up on the screen.
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Well, there is a contradiction in a sense. If you're making commercials which sell products which are unhealthy or which are unnecessary, I think that you are part of a system - I am part of a system which encourages people to buy things and do things which are not to their best interest. And to that extent you could say it was contradictory.
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When I started, we had just the camera and the person, mostly. And if you wanted to do a dolly shot, particularly working in Chicago where I began, you'd get in the back trunk of a car, and you'd have a friend drive the car, or you'd get in some kid's little wagon that he plays with and have someone pull that for dolly shots.
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We, as film-makers, are privileged. We can make people cry or laugh. We can make them think and feel. It is a great privilege and a great responsibility.