Albert Hughes on filmmaking, what it means to love the craft so much that it causes utter depression, courtesy of Film School Thru Commentaries.
Albert Hughes (and briefly cinematographer Peter Deming) discuss the filmmaking process and approach to learning, set design, camera technique, and in Part II what it means to love the craft so much that it causes utter depression. Don’t miss that bit of lengthy discussion because for any serious filmmaker, it’s bound to hit home.
Our intention was to shock. We were heavily influenced by gangsta rap, and we wanted to make a movie equivalent. Hood movies had been made for a black market. Very few people knew our real goal was to make one for white people. When we completed it, because this was our first film, we thought, This is a piece of shit. This is not what we wanted to make. It wasn’t hard enough. It was just soft. And then we started getting the reactions. New Line took us to Cannes, and we were walking down the promenade, and one of the publicists handed us a transcript — Siskel & Ebert had given us a glowing review. We were in shock. And then Roger Ebert himself tapped me on the shoulder! We kind of figured that hip-hop would embrace it. Pimps are popular, gangsters are popular, so the first market is kids and hip-hop — that was more foreseeable. But to consider it a classic? I still have a hard time with that word, because we see all its pimples and warts. —Albert Hughes on Almost Getting Jumped by Tupac, Moby on His First E-mail Account, and Other Stories From 1993
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