Film Matters Magazine

Sophia Fuller: Tell us a little about yourself; how did you get started in filmmaking?

M. W. Daniels: I got into filmmaking in 2011. I was a musician before that and a composer. Someone wanted to make a video for one of my tracks that I was doing at the time. I did that and it kind of spin-boarded from there. I was acting in films as well, even though I don’t particularly like acting myself. I just learned how to write scripts through the years. I worked with a guy for about three years and then a friend introduced me to Nicolai Kornum, who I have been working with ever since. He is a director of photography, sound editor, and really a teacher. He was a great teacher for me, like a guru, I suppose. It’s been almost ten years, we have been working together. This all came up in 2018. I got professional sound on the films finally–before they were just the camera, so you’ve got the annoying clicks all the time when you watch the films back. And then that steps it up. He [Nicolai] really taught me how to write the scripts properly, and then I taught myself how to direct properly. It’s been a long journey, but I have learned a lot through those years. It’s a long time. Nicolai is amazing. Without him I think I would have given it up by now, to be honest.

Film Matters: Please tell us about your article that is being published in Film Matters.

Ruby Ellen Hubbard: Verification of who we are and where we come from in films can be useful. However, for people who cope daily with mental illness such as psychosis, this visibility is often less than ideal and can be damaging both on an individual and societal level. My article explores how representation of psychosis may perpetuate stereotypes that negatively affect society’s attitude toward mental health.

Film Matters: Please tell us about your article that is being published in Film Matters.

Gabrielle Lamb: “Camp Cinema and the Queer Experience” talks about just that: the art form of camp and how it relates to the queer community. I think it’s more important than ever, as the social media age brings a wash of aestheticism, to chronicle the origins of different arts/styles and pay homage to the creators. This is particularly significant in the case of marginalized creators.

Sophia Fuller: Tell us a little about yourself; what got you into writing?

Stephen Lee Naish: I studied film and media way back in the late 1990s and early 2000s in the city of Leicester, UK, where I grew up. My ambition was to become a filmmaker or film editor. For a few years, I would film local bands and musicians, and also bands that passed through town. I would make music videos, live performance videos, art projections, and music documentaries. At the same time I was also writing short stories, and screenplays for potential narrative films that I wanted to make down the line. I remember in my late twenties sitting in some musty music venue at 11pm waiting for a band I was meant to film to come on stage  and thinking “I’m getting too old for this.” I put down the cameras, enrolled back in school to study politics, creative writing, and nonfiction writing and bridged my interests in film, and my knowledge of production, with my interests in politics and pop culture.

Film Matters: Please tell us about your article that is being published in Film Matters.

Tillie Quattrone: My article investigates overlapping manifestations of power and masculinity in one of the pioneering Blaxploitation films, Sweet Sweetback’s Baadasssss Song (Melvin Van Peebles, 1971).