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Land Quotes

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Land Quotes

“I can't help seeing 'Waste Land' as the third in a triptych with my earlier films 'Devil's Playground' and 'Blindsight,' and not least in the awe and gratitude I feel for the group of people who were courageous enough to share their stories with us - and to live lives so rich in inspiration for us all.”

“The generation now below me were born into a world where if you're a kid with raw talent now, you can roll in and land a lead in a Scorsese film. You don't have to have prove yourself by working up the ranks, doing the classics, and getting the canon under your belt in the way the great Sirs and Dames of mom and dad's generation - the [Ben] Kingsleys and [Helen] Mirrens and [Anthony] Hopkinses and people of that ilk.”

“I hate period films - and there are plenty of them - where they say, "Let's not do contemporary language because the audience won't understand it;" "let's not make the girls wear corsets, because it's not sexy" and all that sort of thing. Gradually it disintegrates into a no man's land: you don't really believe it's a period scene and it doesn't feel like it's now because it's not now. You don't feel it's quite real and you don't believe in it.”

“I'm happy to say that I have not been fired off a film. The score is usually the last thing to be done. So a lot lands on the scores shoulders. A lot of problems that seem to have nothing to do with the music gets blamed on the music , because it's relatively cheap to change, where as a reshoot etc is not. Music is often expected to help or fix bad cuts, bad acting, bad filming, bad timing, you name it.”

“I've been with the project for like three years: creating it, pushing it. [There] becomes a certain doubt when you're pitching this story to people. ["The Land" is] a cautionary tale. It's not the brightest or best ending to a film when you're telling a cautionary tale about four kids, kids who are killing each other, kids who are products of the streets.”

“I wanted to make sure the focus [in The Land] was on human beings themselves and their decisions, but still connected to the urban environment that people associate as being black. I think I was able to make a film without commenting on "black this or black that" and you still feel the presence of it. There's no one character who's saying "we're all black and we're all in this struggle." It's that you just feel it. Some of that is because we get the sense from a lot of independent films that black people struggle all the time.”