I’ve been joking that if Madonna taught us anything, you’ve got to reinvent yourself. I think it’s important as a filmmaker, as any person working in the arts, that you’ve got to try new stuff and challenge yourself and take chances.
I think religion is often very different from spirituality. Religion is often about rules and people trying to control our lives who are actually very unspiritual…
That’s the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It’s upsetting because you get away from the core.
I think it’s my nature to try and make original content, and that’s what I’ve done, is just try and approach things in an original way, and do things differently.
I think there’s something in collaboration – the fact that you can sit there and bounce ideas off of someone. It definitely matters who the person is, because certain people… T
I wasn’t a big fan of social anthropology. And, luckily, that created room for me to work in visual arts because I sort of ignored my requirements. I think I was attracted to social anthropology because I liked to travel and was always interested in far-off places.
I was 12 or 13 years old. So I started to write poetry and fiction, even though I was really into biology because my dad was a science teacher. I kept writing all those years.
I think that there’s an infinite amount of places where you can stick a camera. There’s an infinite amount of choices of what could be going on. There’s an infinite amount of places for so many things, so you have to figure out how to do your job.
It’s not that much of a difference. Basically, your job is the same as a film director. It’s a triangle between creativity, money, and time. But they don’t really change. You’re ultimately trying to get the most creativity and time with the money that you have.
I’ve always wanted to introduce hip-hop filmmaking to film. There’s hip-hop art, dance, music, but there really isn’t hip-hop film. So I was trying to do that.
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