When I interviewed these three women filmmakers for the Women in Film & Video e-newsletter, I quickly realized I was writing down more great quotes than would ever fit into the small 250-word allotment I was officially allowed. The article was intended to be a follow up with a few of the filmmakers who had popular entries in the annual International Showcase of women-made films, which usually occurs on International Women's Day. (the article can be found here on page 8: http://wifv.org/files/Sept09.pdf )
Their love of filmmaking and current sacrifices to achieve their goals called for more than just a brief mention in a 16-page PDF. Here are the outtakes, as it were, from those interviews (as well as a few corrections), and even this is edited down.
Jehan Harney:
1. Where did you get the inspiration for your film “Colors of the Veil”?
Everything involving the film was by chance. I knew the imam when I lived in Europe. When I came back to states, I met his family. I was able to chat with his wife, Kimberly King, and learned that she had an interesting story. You don’t hear this story often…a very unusual story. This is an interesting story for people in the Middle East, who think Islam and think of people who are usually dark skinned. You don’t see a former U.S. soldier converting. I found her very fascinating. She eventually gave in and let me film her. This film won the national award for best documentary from One Nation Many Voices…. You feel like people from different worlds can come together and become bigger than just themselves, extend their philosophy and you can see how people should treat each other…then to see it manifest itself in the community. Kimberly King and her husband have a great model.
2. What is your #1 rule in storytelling?
When I do a short film you just try to get point out. What I like is for the story to be in their voices, no narration. I like it to have a conflict, and see how we made it work. That’s why we’re curious about people’s stories anyway. I always look for [conflict] in my stories to make it advance forward, make people wonder what happened next. A longer film I’m working on now “Friends of America” captures the life of Iraqi refugees in the U.S. funded for PBS. It’s ironic that the country that supported liberation of Iraq, the only place the refugees could find safety, is in the U.S. And yet, it is the one country that took in the least number of Iraqis. This film follows two families who fall through the cracks of the U.S. system Their family’s story represents one-third of the refugees here. Their story is under represented because they are afraid to reveal their identities. Luckily I found a couple of families who trusted me wbc we share religion, city, culture. It’s always good when you tell a story in three acts. Their past, present future; its’ good to break up the story. Ask yourself, What’s unique about it? What else has been done on the same subject? Once you find yourself as interesting other people will too. How you lead to [the mystery of the story] can’t be always reveal everything up front; reveal a little, bit but not everything. Give the element of surprise once they think they see the resolution.
3. What else have you been doing?
I got to sit in on class for proposal writing…Paul Taylor is amazing with words. He dissected my proposal. He is The Proposal Doctor! …The whole point is to stretch your imagination; have distance from you material; look at it analytically. It can be a great eye opener to see other people’s work and build a network.
Vanya Rose:
1. Where did you get the inspiration for the Montreal Stories?
It was my master’s degree thesis... I was studying history/fiction and how to combine them, the urban history/fiction… Lon Walter Benjamin philosophy, theoretical stuff. Composition. (Editor’s note: When this story ran in the WIFV e-newsletter I wrote that the little girl’s character in 1944 was French Canadian. She was not. The girl is the daughter of recently emigrated Polish Jews. There is not much in the way of dialogue in the film.)
2. What is your #1 rule in storytelling?
A [film] has to come from the heart, even if you haven’t written it. I don’t think you can make a film if you don’t feel the attachment. It’s not a question of technique. I think you can tell a story around anything, even the most banal plots…Edith Wharton says there’s no originality… it’s about the ways of saying things. It’s having new eyes. I think that’s why women are on the frontier of [film]. There are a massive amount of men’s stories, which are great, but I think there are so many untold women’s stories, so keep a fresh eye on your own way of seeing the word and telling stories…not falling into the trap of all those rules because of story editors, etc. Naturally stories tell themselves a certain way. When you look at Asian cinema you see different ways of telling stories….
3. Can you tell us about "As the Night the Day"?
It’s really different. There is a male central character who is interesting. It’s much more traditional story telling because Mansfield lends itself to that. I felt like I was telling her story, ways I want to depict it. She was such a brilliant short story writer. When she died [Virginia] Wolf said “I have no one else to write for anymore.”….When it comes to directing, being an architect, instances where creative and control go together, women face a huge challenge. It’s the biggest issue for society….Women get less funding. People don’t mind women telling everyone what to do [in the case of running a corporation or a school]. What they mind is someone creative on set telling them what to do, expressing how they see the world. That’s really hard for people. As a straight women, I find it even more controversial.
Kat Candler:
1. How great is Jon Hamm?!?! (sorry, I saw your blog and could not resist):
I've only seen one episode of MAD MEN. Isn't that horrible? I've been making my way through WEEDS, EASTBOUND AND DOWN ... So I'm a little slow in getting to MAD MEN. I don't have cable so I only get an opportunity in a hotel room or parent's house to catch an episode not on DVD. But I've seen Jon Hamm on 30 ROCK and SNL and he's pretty awesome. And I just love his MAD MEN look. It's too perfect. He's what I envision for the lead in a family comedy I'm writing called CAPTAIN DYNAMO AND THE BOY RANGERS. (Editor’s note: In the WIFV article in the e-newsletter “Rangers” was misspelled.)
2. Where did you get the inspiration for “Quarter to Noon”?
I actually made QUARTER TO NOON the same month I quit that day job and went freelance full time as a filmmaker and film teacher. Very cathartic. For me, the short is about doing what you love.
3. What is your #1 rule in storytelling?
Every choice that you make should always be dictated by story. Music, sound design, costume colors, dialogue, it all goes back to the story and the bigger picture. I always tell my students, think long and hard about each choice you make. Don't do a camera move because it's cool, do it because it says something about a character, emotion, the tone or moves the story along…My #1 rule of filmmaking is to be nice. I don't work with mean or egotistical people. It ruins the experience and I think ultimately can ruin the film. I feel like a lot of hearts and hands go on a screen. And there's so much joy in the process of getting there.
Editor’s note: Check back later for a follow up on how these women’s films are progressing.
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