.
I found inspiration in the rather direct comments on film making made by writer/producer Sam Greenlee, whose 1973 film Spook Who Sat By the Door was effectively banned for thirty years. What an incisive string of commentary is presented in this brief montage, beginning with: "It was an adventure." "We had to shot it guerrilla style because that was necessary." "I want people to look at the movie and [leave] thinking." I can relate to this.
On being ostracized he gives this advice and insight, "If we're gonna be outsiders man, take advantage of being outside. If you want to be a rich ho' then go to Hollywood. If you want to want to say something true about black people then do what we did. Raise the money from the black community then shoot want you want." Word.
He goes on to say, "If you don't belong someplace, get the hell out. There's no excuse now for black people not to be making' there own films. With modern technology you can shoot a film that ten years ago would have cost ten million dollars..." Final Cut Pro, Yes!
Part of my reciprocity practice for having been raised in the grass roots of the black community has been to teach Buddhism in the grass roots of Oakland's black community. Accolade or even appreciation for my work has been hard to come by from the black elite. This coupled with my work as a controversial black filmmaker brought me close to the cold-shoulder of what Greenlee calls "some of the richest Nig**rs...". I feel a consistency of truth when he says, "I feel a definite sense of elitism today. I don't believe our so-called leaders have any connection with the people viscerally, intellectually or otherwise. In fact I think they're frightened of us. They are afraid of ordinary grass roots black people, yet they still pretend to speak for us..."
Greenlee's account is not for those satisfied by ghost written glossy celebrity books about the struggle of emerging from street life to Hollywood success. He's the real deal, and fully capable of telling truth in his own words.
As a final signature of authenticity he speaks of the joy in having not been destroyed for daring to give unadulterated, unsanctioned, and institutionally unedited social commentary, "I'm goin' to get the last laugh on all those people, the whites and the blacks who tried to break me... I'm healthy and happy and having a good time. And, if I never make another film..look at the film I made." Hmm...sounds good to me. Check it out.
I found inspiration in the rather direct comments on film making made by writer/producer Sam Greenlee, whose 1973 film Spook Who Sat By the Door was effectively banned for thirty years. What an incisive string of commentary is presented in this brief montage, beginning with: "It was an adventure." "We had to shot it guerrilla style because that was necessary." "I want people to look at the movie and [leave] thinking." I can relate to this.
On being ostracized he gives this advice and insight, "If we're gonna be outsiders man, take advantage of being outside. If you want to be a rich ho' then go to Hollywood. If you want to want to say something true about black people then do what we did. Raise the money from the black community then shoot want you want." Word.
He goes on to say, "If you don't belong someplace, get the hell out. There's no excuse now for black people not to be making' there own films. With modern technology you can shoot a film that ten years ago would have cost ten million dollars..." Final Cut Pro, Yes!
Part of my reciprocity practice for having been raised in the grass roots of the black community has been to teach Buddhism in the grass roots of Oakland's black community. Accolade or even appreciation for my work has been hard to come by from the black elite. This coupled with my work as a controversial black filmmaker brought me close to the cold-shoulder of what Greenlee calls "some of the richest Nig**rs...". I feel a consistency of truth when he says, "I feel a definite sense of elitism today. I don't believe our so-called leaders have any connection with the people viscerally, intellectually or otherwise. In fact I think they're frightened of us. They are afraid of ordinary grass roots black people, yet they still pretend to speak for us..."
Greenlee's account is not for those satisfied by ghost written glossy celebrity books about the struggle of emerging from street life to Hollywood success. He's the real deal, and fully capable of telling truth in his own words.
As a final signature of authenticity he speaks of the joy in having not been destroyed for daring to give unadulterated, unsanctioned, and institutionally unedited social commentary, "I'm goin' to get the last laugh on all those people, the whites and the blacks who tried to break me... I'm healthy and happy and having a good time. And, if I never make another film..look at the film I made." Hmm...sounds good to me. Check it out.
Although my film, Festival Canceled, lacks the historical or artistic significance of Spook, still, I find great inspiration in this wonderfully affirming message from a black filmmaker who knows the struggle of making black cinema as an outsider.
And, thank you Mr. Greenlee for helping me to appreciate the currency and validation of being ostracized by the wealthy, powerful, and politically disinterested among the American Buddhist community. In retrospect, what I thought to be mistreatment could not have been a greater boon. Audacity, daring, and at times even unmitigated gall are also expressions of many great Tantric Buddhist's. I feel in good company.
