Kathleen Collins

In order to get at how I think about making a movie at a low budget, I have to be able to give you the theory, the narrative theory, that supports my reasons for making movies. If any of you have seen my work, you know I’m only interested in telling stories, and most of those stories are fairly contemporary. And to some degree they are ahistorical, meaning, though I think that is going to change, that the focus of the work is entirely narrative in orientation.

“The thing that writing teaches you, which is probably the thing I’ve discovered that I know best about, is the mastery of form. And each discipline is really an exercise in understanding what is allowable in the structure of that particular form. Screenplay writing has curves and you have to write for the curves of the story.”

I think of myself as someone who has an instinctual understanding of what it is to be a minority person. That is someone whose existence is highly marginal in the society and understands it in the gut but will not be dominated by it. Therefore, I refuse all of those labels, such as Black Woman Filmmaker, because I believe in my work as something that can be looked at without labels.

It would be more than fair to say that in American films, the motif of adventure is one of the favorite story-telling devices. So many films come to mind – from the most banal to the most memorable of the western, detective, and war genre films of the 30’s, 40’s and 50’s to the rash of modern-day science fiction films patterned on the Star Wars or Close Encounters formulas. (...) Two other films stand out in my mind that take the adventure story theme to another level, and therefore deserve a closer look: Charles Lane’s A Place in Time, and Charles Burnett’s Killer Of Sheep.