about seeing from the outside and whether it has value
January 23rd, 2010 | 
Author: Recently I was told I have a choice, I can continue to make films the way I have, idiosyncratic films that are hard to describe in a sentence, or I can try to make films that have a chance of being more accessible to more people, like maybe a genre film that I put my stamp on. And if I continue the way I have, I have to accept that I may never be a popular filmmaker, according to my adviser. I don’t know if that’s true. All I know is, I do what is in me to do, and I avoid making films that I feel could also have been directed by someone else. In that case I would rather stay home and write fiction or just be with my kids. I don’t try to be obscure–I always hope I am making a film for masses of people–but I want to tell the truth as I see it. Maybe I am overly stubborn. I don’t know. Every time I read a comment from you all, I have to say it reminds me that there really are people out there who understand the films, that they mean something to you, and that’s very encouraging.
So much of whether a film is commercial has to do with the money behind it. “Precious”, which I think is a fantastic, brave film, could have sunk without a trace if it didn’t have the millions the distributor is spending on its behalf. Good films can get lost if they don’t have the support, and with our distribution business in such disarray–so many of the distributors that put out alternative film have gone bust in the past couple of years–the chances of audiences actually getting to see alternative film, let alone large numbers of people being made aware of them through advertising or award campaigns which themselves cost thousands upon thousands of dollars, really millions if you are going to actually get anywhere, are slim to say the least. However, I count myself extremely lucky that I have been allowed to make four films with artistic control. That in itself is a miracle. I have to confess though I wish I had a little more muscle behind the films. I think often it’s muscle–power and money– that makes the difference. “Personal Velocity” was put out by United Artists, a studio (now gone bust). It made money, because it had a little muscle behind it. A studio would never buy Personal Velocity no, because of this climate of fear and caution that pervades the industry. Anyway, it’s a tough world. When I made “Angela” I was totally naive. I knew nothing. Each time I make a film I learn more about the business, more scales fall from my eyes, and I have to say, I liked my ignorance better.
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Ignore it, keep doing what you’re doing – making films that you believe in and can be proud of. Otherwise what’s the point? There are plenty of bland filmmakers out there that will fade into the background. At least you will stand out as a Director who had something to say, someone who didn’t cave to formula and the studios. More people might go and see films like ‘Along came Polly’, but they won’t remember them.
Cheer up!
Your movies are REALLY good! And be sure that they affect much more people than you can imagine. You are such a sensible director, please don’t ever change!
I agree with Ellie, don’t “sell your soul”, what’s the use of doing movies in which you do not believe in? Be the best you can be, be yourself.
Your movies are something to be proud of! They are art and art lasts forever!
Greetings
Julia
Rio de Janeiro, Brazil
Thanks to the blog-world I can comment to you my 2-cents as below:
The current status you are in (4 films done your way) is a luxury but now it may the time to pause and gear to the masses. We do live in real world and in real world we all need $$ (or Euro’s, etc.) to live. With reputation behind you and backing you up as a filmmaker who does have her own style and voice and_ can_deliver, you should have clout of maybe a 2-3 hig risk films where you can experiment to feed the larger audience. There is nothing wrong in being a popular filmmaker. Bergman did not get his WILD STRAWBERRIES and THRU A GLASS DARKLY series scripts out till well into the decade of his career, and Kurosawa did the same.
Audience such as myself who loves the kind of movies you make, I would rather you succeed in a long run as a pragmatic filmmaker who made multiple films but had some popular-films (after her 4th film) that did bad (maybe…maybe not), then someone who had only a handful of films all made her own style. Kurosawa had said that a good film is always entertaining and maybe, maybe…you will find that the artist in you will emboss the PIPPA LEE’s better in mainstream storylines. I feel that Mira Nair (SALAAM BOMBAY, MONSOON WEDDING) and you have a lot in common and she says that there are only two kinds of films: Good Cinema and soulless cinema. So I feel as an audience we can be safe in expecting good films from you, and you as a filmmake needs to ensure the input $$ channel is smooth
Thanks for another interesting post… I just wanted to make note that the climate is most certainly changing, but there’s also opportunity in that change. For example, screenwriter John August just posted about a Sundance film that has been distributed by its makers via the web (http://johnaugust.com/archives/2010/watching-otmm). While it’s an early indication of what’s to come, as are other films utilizing online-only-distribution (for example, Ed Burns’ last movie, “Purple Violets” which was released solely on iTunes), I think there’s hope in independent, online distribution. While you’re certainly correct in saying the independent distribution model has been crushed, maybe it’s a chance for independent filmmakers to get creative and self-distribute. I know, as a viewer, I’m willing to utilize the medium, especially if it means viewing something I’d otherwise not be able to see.
Dear Rebecca…I saw ‘The Ballad of Jack and Rose’ recently, and after reading this post I felt I must comment. Your characters are so alive and your trust in your work was dazzling. Films like that don’t come along very often, which is one of the many reasons films like yours need to keep being made. You create work that tunes into a frequency that most people don’t hear, or can’t. It’s empathetic and intuitive and fantastically human (a rare thing, to be sure.)
The majority of films that get wide release are fast food, for quick and mindless consumption. I want people to see work like yours like I want there to be a copy of Howard Zinn’s “A People’s History of the United States” in every school in America. And while you’re absolutely right about distribution, creating work with chutzpah and real artistry, like you do, does more to usher in change than kowtowing to the commercialism of film today. Of course you want to get through to as many people as possible, because what does one make art for but to share it with others? But what the world does with the creations its given is largely up to them. Besides, nothing worth saying was ever described in a single sentence, anyway.
Best, Lisa
Dear Rebecca,
I just had to say Thank You from the bottom of my heart for Pippa Lee. I was in love and awe from the first page – and thrilled to hear about each confirmed casting. I had a tough time seeing the movie – in fact, living in North West UK, I couldn’t find a screening, but pre-ordered the DVD. I was so relieved to find that you had accomplished such a beautiful adaptation. I find your work thrilling! As a writer, I share many of your interests and fascinations, so to read and view such subtle yet absolutely earth-shattering authenticity is just a pleasure.
This isn’t so much a post, but a love note! Please keep doing what you do so well. Despite distribution issues etc – We need you to be the artist you are.
Admiration Always,
Patricia
Dear Rebecca,
I read recently “Pippa Lee” and the book is really good. It’s a modern Cinderella. A mixture between Hell and Angel. A very sensitive story and an interesting life / experiences. I can’t wait to see your movie, too. I read a lot about it; a lot of good stuff. Keep doing what you do.
Your creation thrills our souls and like Julia said “art last forever”.
Best,
MP
Rebecca,
I admire you for your optimism, and your desire to be true to yourself and your work–despite what other’s may advise. I read your work (particularly, PERSONAL VELOCITY) when I want inspiration for my own writing. Thank you. My friend said something to me the other day that really helped me in a situation where I could have compromised my ideals, “being fully yourself is MORE than enough.” This simple sentence reminded me of why being true to ourselves is, well, simply beautiful. Thank you for creating inspiring female pieces… your audience awaits.
In joy,
Natalie
Hello Rebecca! I am just finished the book of you and I am delighted with it. I mean “The Private Lives of Pippa Lee”. It’s great book and there are a lot of thoughts in my mind after the reading it. I am going to write about your book on my private blog right now. Thanks for the good book. Greetings from Poland. Maria.
Hello Rebecca:
I saw PIPPA LEE on DVD last night and I think it is equal to the sum of all your three previous movies in terms of a good cinematic film (as opposed to just an Artsy film). Excellent cast, super direction and Robin Penn did a fabulous job of absorbing the character. I feel you could have tightened the film by a few minutes but also explored PIPPA’s liberation milestone more vividly/symbolically.
Also, I was looking forward to some Behind-the-scenes footage and your interview about the movie in the DVD but was disappointed by just brief interviews by other players. ANyway, I look forward to your commentary on second run of the movie.
Keep up the good work and subject matters you try to explore.
Goodluck.