There is a myth that good or greatcinema should or does appeal to alarge audience; this is simply not
true. Perhaps it’s our democratic
spirit which leads many to believethese naive notions, but needlessto say, we at Shooting Wall, think that great art and great filmsshould challenge our assumptionsof both the medium (cinema) andour lives. We should not be afraidof taking sides in these matters.Hollywood offers us nothing, so
why bother? “Independent” is
simply a genre in America andmost of the films are not madeindependently. The difference between the Hollywood and theindependent establishment is onlya difference in how much thefilms cost and how much moneythey make; there is little differ-ence in modes of production, dis-tribution, or innovation. The inde- pendent film movement grew outof the desire to make films in op- position to Hollywood and yetnow, independent film existssimply as a smaller version of Hollywood. And many filmmak-ers who start off making these so-called independent films see themonly as a rung in the ladder to-ward the excess and stagnation of Hollywood.
Our systems are corrupt. Our systems have become completely inundated
and ruled by money. Capitalism is America’s religion and money is Ameri-ca’s god. No matter where you go or what you do, you have to deal with a
corrupt system run by people whose overriding interest is profit. How canone even function in this country without at some point or to some extenthaving to give our business to a company that says and does things that we
do not support? It’s impossible. Every angle and every aspect of our society
and our culture is dominated by money and capitalism. So what is our re-course? How can we fight a system so monolithic and so strong? ShootingWall believes that the only way to do this is to no longer work within thesystem. There are still many people who think that we can burrow fromwithin the system, and reform it that way. To put it simply: they are wrong. The system has not gotten so rich or remained so dominate by mistake; Hol-lywood and the rest of the mainstream film community know what they aredoing. They know how to control dissidents and marginalize radical cinema.
The first 120 years of cinematichistory has basically been capital-ism struggling and then finallywinning in its dominance of filmworldwide. They tell us that theseare the films we want: the bloatedand idiotic Blockbusters, con-servative and sexist romantic com-edies, the alarmist disaster movies,and so on and so on and so on. Isthis truly what we want? Is it real-ly? Is there no room for anythingelse? Can we really justify spend-ing hundreds of millions of dollarson a film? A film! We love cine-ma, but do not believe that itshould cost 100, 200, or 300 milliondollars to make a film. Who suf-fers so that Hollywood can spendthis much on a single film? We allsuffer. We suffer economicallyand culturally. And for all of thismoney, they offer us nothing newand