Re: FilmCouch #28

ShaunHuston — Tue, 17 Jul 2007 02:34:49 GMT

This discussion made me think about two other films: The Fast Runner (2001) and Travellers and Magicians (2003). Both tell traditional stories of indigenous, non-European peoples in cinematic form, and, like Ten Canoes, if I understand right, the latter also intertwines the older tale with a contemporary narrative. The major difference between the three movies is that the director in the earlier films is also of the culture whose story is being told. While I don't believe that people can or should only make films or tell stories about "their own," that would be tragic, it would be interesting to get a deeper understanding of how the dynamics are different when an "outsider" takes the lead in cinematically translating a folk tale. I wouldn't assume that the "outsider" would be less respectful than the "insider" or easier or harder to work with, etc. But, as the podcast discussion suggests, there was a learning curve involved in making Ten Canoes that presumably would be lessened with a "local" director. I would also wonder how much easier it might be for a filmmaker like de Heer to get financing, tap into distribution networks, etc. as compared to Khyentse Norbu (Travellers and Magicians) or Zacharias Kunuk (Fast Runner), recognizing that all three of these films are, at some level, hard sells commercially.

FilmCouch #28

paul — Fri, 13 Jul 2007 14:00:19 GMT

I've decided the most inspiring filmmaker since John Cassavetes is Rolf de Heer (Ten Canoes, The Tracker, Epsilon, Dingo). If there's a filmmaker alive devoted to the belief that some films must happen and he/she is just a conduit for some bigger change, it's de Heer. I interviewed him for FilmCouch and the story behind Ten Canoes (in theaters now) is remarkable.

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