00:09 It's a little reductive
00:11 to talk about queer cinema to me now
00:13 because I think there was a very specific moment
00:18 in the early nineties
00:19 that people tend to take out of context.
00:22 We say, Oh, you know, new queer cinema,
00:24 Todd Haynes, Isaac Julien...
00:27 But I think what people don't really contextualize,
00:31 which is important, is two things.
00:33 One is we were in the middle of the AIDS crisis
00:37 and there was a very strong sense of urgency
00:41 of this sense that if we if our community didn't tell our stories,
00:46 nobody would.
00:48 And those stories would go to people's graves.
00:59 I mean, it's hard to describe
01:02 the intensity of that time if you haven't lived through it,
01:07 because I know there's parallels
01:09 we draw between this pandemic and that pandemic.
01:12 But the big difference is,
01:15 you know, the only thing we knew about HIV in those days
01:18 was if you got it, you died.
01:19 So that fueled a sense
01:23 of we're not asking for permission.
01:25 We're just going to tell our stories.
01:33 We discovered pretty quickly that a queer audience
01:37 was very desperate to see themselves represented
01:40 on the screen the way any audience is,
01:44 but the way most of us
01:46 take it for granted.
01:47 A queer audience, they never saw
01:49 their relationships. They never saw their stories.
01:53 They never saw their lives.
01:57 So once we realized that,
01:59 we realized that we could make a movie
02:03 and targeted specifically to a queer audience
02:07 and not worry about anybody else.
02:09 And if we made it for the right price,
02:12 it would make its money back.
02:14 And that was extremely empowering.
02:20 When I started producing.
02:22 There weren't very many women in the film business.
02:24 Maybe, you know, women were script supervisors.
02:28 They were costume designers.
02:30 Production design, maybe.
02:33 You never saw a woman cinematographer
02:36 and you really never saw women in a technical capacity.
02:39 So and a lot of that has changed.
02:42 I know we're very obsessed with visible diversity.
02:45 When we talk about Cannes
02:47 or Venice or San Sebastian,
02:51 any film festival,
02:52 we talk a lot about the number of female directors.
02:56 And of course, I think that's important.
02:58 And Killer has been, you know, pioneering
03:02 female directors for the past 25 years.
03:05 We probably worked with more
03:07 than any other production company
03:09 and way before it was, you know, in fashion.
03:12 But I also wonder,
03:15 like we don't talk about
03:17 the number of female producers.
03:19 We don't talk about
03:21 how many other women are behind the camera.
03:24 You know, designing, shooting, all of those other things.
03:28 It's like we really just focused on directing
03:31 is the only thing that that matters.
03:34 And it matters a lot.
03:35 It's not the only thing.
03:46 I think it's very it's important to make the distinction
03:49 that and I talk about this a lot when I'm in Europe.
03:52 But, you know, we have no film subsidies in America.
03:55 So when I decide that I'm going to take on a script,
04:01 I have to decide that I that it has a path to being made.
04:06 And and that path is very different
04:08 from a path, say, in Spain or in France
04:11 or really anywhere with with a a culture
04:14 of film subsidy.
04:16 So I of course,
04:17 I have to like the script.
04:19 I have to feel like it's original, it's provocative, etc...
04:23 I do have to feel like it's something I haven't seen before
04:27 because I think for independent film
04:29 to be marketable, that's very, very critical.
04:32 But then I have to feel like it's makeable.
04:35 So that means a lot of different things.
04:37 It may mean I have to feel
04:40 like there's a part in it that an actor,
04:43 since so much of how we finance our movies,
04:46 does depend on cast,
04:48 is there a part in it that an actor will gravitate towards?
04:52 Is there something about the story that feels zeitgeisty
04:56 or of the moment?
04:58 Is the director somebody who already has, you know,
05:03 some kind of critical slash international reputation?
05:11 These are all the things I have to think about when I decide to.
05:14 Because for us, it's opportunity cost.
05:17 If I take on a movie and we don't make it, nobody gets paid.
05:22 And if nobody gets paid, we don't keep the office open
05:25 We are forced to think about our audience,
05:28 which I don't think is a bad thing.
05:30 And sometimes I see European movies and I said,
05:33 hey, we're not thinking about their audience.
05:43 Thinking about your audience can make a movie better,
05:47 because I do believe that films are made
05:50 for people to see.
05:52 I don't believe that they're made for somebody to just,
05:56 have their own fantasy about what they want to do,
06:00 then they should go, like, be a modern dancer or something.
06:03 So I do believe that's part of film
06:06 as a commercial art form.
06:08 And, and if you as a filmmaker
06:13 don't really celebrate people seeing your work.
06:18 I'm not sure I'm the right producer for you.
06:21 On the other hand, there are filmmakers whose careers
06:25 would never have happened
06:27 if they hadn't had the sort of the ability to experiment,
06:34 for example, because of subsidies,
06:36 because we have much less
06:38 of an ability to experiment.
06:41 But it also forces, I think, in America,
06:42 a kind of inventiveness
06:45 on the part of filmmakers
06:47 because they don't have the luxury of subsidies.
06:50 So it's a two way street.
06:51 I have spoken to many
06:54 film schools in Europe
06:56 or many, you know, film programs
07:01 where a filmmaker will stand up and say to me,
07:04 I don't care what an audience thinks.
07:07 I make my movies for me.
07:08 And I'm like, Bully for you, you know,
07:11 good luck.
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