By Ray Pride Pride@moviecitynews.com

STATEMENT FROM OSCAR®-NOMINATED CO-DIRECTOR OF 5 BROKEN CAMERAS

Los Angeles, CA – February 20, 2013 – “Last night, on my way from Turkey to Los Angeles, CA, my family and I were held at US immigration for about an hour and questioned about the purpose of my visit to the United States. Immigration officials asked for proof that I was nominated for an Academy Award® for the documentary 5 BROKEN CAMERAS and they told me that if I couldn’t prove the reason for my visit, my wife Soraya, my son Gibreel and I would be sent back to Turkey on the same day.

“After 40 minutes of questions and answers, Gibreel asked me why we were still waiting in that small room. I simply told him the truth: ‘Maybe we’ll have to go back.’ I could see his heart sink.

“Although this was an unpleasant experience, this is a daily occurrence for Palestinians, every single day, throughout he West Bank. There are more than 500 Israeli checkpoints, roadblocks, and other barriers to movement across our land, and not a single one of us has been spared the experience that my family and I experienced yesterday. Ours was a very minor example of what my people face every day.”

— Emad Burnat, Co-Director of 5 BROKEN CAMERAS

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What’s up with your people mover shot, where it seems like people are kind of floating along?
Oh, my signature shot? That’s just a new way for people to move! It’s really become my Alfred Hitchcock cameo. I did not invent that shot, but Ernest and I did it on the set of Mo Better Blues, when Shorty had to walk [through the park], and I thought, “Let’s try it.” But after that, we tried to have a reason for it. For example, that wonderful sequence in Malcolm X where you hear the great song, “A Change Is Gonna Come.” The final scene is like that, Malcolm floating along to his destiny. In 25th Hour, after Philip Seymour Hoffman has kissed Anna Paquin, we did a shot like that, and it shows his state of mind. In Inside Man, after Denzel thinks he’s witnessed the murder of a hostage, we did the floating shot there.

So you just like the way it looks?
Yeah!
~ Spike Lee To Matt Zoller Seitz

“I never accepted the term contrarian. I think that’s offensive, frankly. And my response to that is: if I’m a contrarian, what are other reviewers? What I strive to do is be a good critic, not somebody who simply accepts the product put in front of me. I guess it scares people to think that they don’t have any originality; that they don’t have the capacity to think for themselves.

“There’s a line a lot of reviewers use that I don’t like at all. They say ‘accept the film on its own terms.’ What that really means is, ‘accept the film as it is advertised.’ That’s got nothing to do with criticism. Nothing to do with having a response as a film watcher. A thinking person has to analyze what’s on screen, not simply rubber-stamp it or kowtow to marketing.”m

“To me, everything does have a political component and I think it’s an interesting way to look at art. It’s one way that makes film reviewing, I think, a politically relevant form of journalism. We do live in a political world, and we bring our political sense to the movies with us – unless you’re the kind of person who goes to the movies and shuts off the outside world. I’m not that kind of person.”
~ Armond White to Luke Buckmaster