Producer: Women changing filmmaking
ZIMMERMAN from Page 6
I’m not somebody that has a real
strict definition. The truth is that
women arc the subject of her films,
and that is something very new. I
mean, the 1960s were all ‘bunny’
movies.”
Zimmerman said experimental
film has also started to make an
impact on major films. As an ex
ample she cited David Lynch’s film
“Blue Velvet.”
“That was, maybe not a main
stream film, but it was distributed by
7 think that, in a
certain way,
women have gone
one direction,
kind of searching
for a form. And I
think that it will
kind of swing
back, and there
will be someplace
in the middle. That
will be very inter
esting filmmaking
and very realistic
filmmaking.'
—Zimmerman
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Hollywood. . . . Filmmakers like
David Lynch, who come out of an
experimental tradition — “Eraser
head” was his first film, he went on
to make “The Elephant Man” and
“Dune.”
Zimmerman seemed optimistic
about the future of independent
filmmaking in general, loo.
“As more students graduate with
film degrees, and more use them, the
more film programs there are, the
more services for filmmakers there
are, the more people that arc experi
enced, interested. I mean we’re re
ally the first generations of media
babies. Foundation people, who give
grants, are people who arc raised on
books and not on television. They’re
not very comfortable with the mov
ing image. So this is really the first
generation to grow up with the mov
ing image, and I think that’s really
going to change things.”
She said the rise of the home video
market also has helped, and the suc
cess of some recent independent
films has made private investors
more willing to put money into more
independent films.
But for the situation to get even
better, Zimmerman said, more things
will have to change. One is IRS regu
lations that don’tallow any film costs
to be written off until the film is
finished and released, and then only
in proportion to the amount the film
grosses. Also, she said she thinks
another Republican president would
be bad for independent filmmaking.
For those interested in getting into
independent films, Zimmerman rec
ommended attending film school.
“The film school will give you the
opportunity to have the equipment,
maybe some money, you’ll have
other students that will work as your
crew members. But the important
thing is that if you go to film school
you come out with a film.
“If you don’t want to do that, then
there arc lots ol community-based
media arts centers that offer film
classes. They’re very low-cost;
they’re designed for access to the
community. They’ll teach you video,
they’ll leach you film. In New York
we have more than a few. There arc
some in the Midwest.
“I’m not exactly sure where, but I
know there’s one in Montana.”
Zimmerman said producing a film
and having it shown at film festivals
which will give grants for another
film arc the highest priorities for a
beginning filmmaker.
Zimmerman also said a beginner
should gel a job as a production assis
tant to sec all aspects of making
films.
However, Zimmerman said, there
arc difficulties in producing films in
the Midwest.
“There’s no lab here; there’s no
film equipment houses here. You
really need that support if you’re
going to be making films,” Zimmer
man said.
Zimmerman listed New York,
San Francisco, Boston and Philadel
phia and New York as centers for
independent filmmaking. Also, she
said, several are scattered throughout
the South, such as in Atlanta and
Houston. Chicago and Ann Arbor,
Mich., both have good experimental
film festivals, she said.
Zimmerman said women have
been making movies since the early
1900s, and the very first narrative
film was made by a French woman
named Alice Guy Blache.
But she said her comment refers to
the two “waves” of women
filmmakers since the women’s
movement of the early 1970s. The
first wave, she said, focused on po
‘Foundation
people, who give
grants, are people
who are raised on
books and not on
television. They're
not very comfort
able with the mov
ing image.’
—Zimmerman
lirical and social documentaries that
reflected the realities of women’s
lives. The present wave,Zimmerman
said, is a more experimental ap
proach to telling those stories.
“It’s more centered on form,
rather than just on the experience,”
she said.
Zimmerman said she predicts the
next wave will be the incorporation
of those experimental techniques
into more traditional narrative forms.
“I think that, in a certain way,
women havcgonconcdirection,kind
into more traditional narrative forms.
“I think that, in a certain way,
women havegone one direction, kind
of searching for a form. And I think
that it will kind of swing back, and
there will be someplace in the
middle. That will be very interesting
filmmaking and very realistic
filmmaking.”
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