Haile Gerima Quotes
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When you don't work together you can't emerge as a force. It becomes what some call a "lonely struggle" and individual self-destruction.
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When the system does not recognize me I'm not devastated.
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I really do not care what the white world is doing. I care about black people building the monument on slavery.
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I'm organizing documentary films, and whenever scriptwriting gets too tedious I go to my editing room and start to edit the documentary, even if I don't have the full funding yet. So you have to keep yourself busy, you have to like the subject matter.
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Most young people now are very vulnerable as to what the American film aficionados are going to say. They care too much about a system that has no room for them. It's really a serious issue for me, because to me it's, how do I survive beyond a film that was disgraced or praised?
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When my film went to the Venice Film Festival and won the best script writing, the jury [prize], it didn't go to my head. I know how many black filmmakers that I am operating with whose name will never be mentioned. But I'm part of them in that silent existence.
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The system knows how to cherry pick black people. It's like affirmative action - once a year, one is recognized. But what has to occur is self-emergence so if they ignore you, you don't have to disappear.
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I am not interested only in telling a story, but I want to tell it my way. I don't want my accent, my temperament, my narrative style to be compromised to fit into a mold of the Hollywood type.
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You have to have a very strong cash flow for a film to really stay in theaters. You have to have the advertising capacity to sustain and follow the kind of press coverage.
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Success is really when you create a space, a piece of art, and people come in and say, that's my story - when they claim it.
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To me, entertainment is really the new plantation. It's the new sugar, the new cotton, that black people work for somebody else to be richer than them.
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You have to be willing to put everything you've got towards the project. That to me is very important. And it may not be part of the fad, being the clichéd kind of film that's going to be successful.
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A lot of young black people in America, and even in Africa and Brazil, would say that they are telling their story, but most of the films are like application forms with the formulaic ideas of Hollywood.
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Tarantino is a spoiled little white kid. He can do any movie he wants and nobody can do anything about it.
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I think not many young people are willing to pay the price of telling their own story.
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For me, I think [art] exists in a cave. I am in a cave. I have my own editing place, but I'm not powerful enough to amass the resources to keep doing movies every two or three years.
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To me the industry has always said that the lovers and haters and principal characters will always be white in Hollywood, and black people will always be appendages of those kinds of dramas, or they will be comedic outlets. It will never change.
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For any movement to emerge, it has to be innovatively independent from the mainstream cinema, and I don't see that much.
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Most young people make films to be accepted, to be discovered, when in fact that was the last idea with the group I went to film school with. To be discovered was not our intention. Our intention was to tell our story our way, and make our own mistakes and learn from film to film.
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Most, especially the young filmmakers, do not see strength in communal or collective existence. They just think they're going to conquer the world as individuals. There is no world like that. In cinema it's always, even in Hollywood, a collective surge.
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If you never did anything for your own freedom, you're not worth a human being in my view.
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I think once you have films in certain festivals you begin to have name recognition, and there are possibilities.
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You have to keep yourself busy, you have to like the subject matter. If you do it for other causes, other reasons, it doesn't hold you for a long time. There's no other way but struggling, forging ahead to do the film.
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There has to be consistent emergence of two or three films - narratively, stylistically, consistently demonstrating you are here to go on. And on that kind of basis, I'm not seeing much. I'm just waiting to see.