certain amount of people that are in reserve. These people have a complex kind of reality: how long will they remain in that state? What will happen if they remain too long? So is that over arching understanding of it. And it just so happens that he is a worker from a group with a certain history, but he is a worker, a universal man in that sense. That was important to assert, as opposed to simply attributing all that happens to a man to racial prejudice. That is an aspect, but people can raise these questions themselves.
I was thinking of a director you talked a lot yesterday, Ousmane Sembene, mainly his movie
, and I'm thinking of another movie, Lionel Rogosin's
Come Back, Africa
. These are two very strong and engaged movies against racism. What's your relation with these two approaches?
Those are movies that I know. The Sembene movie is also a movie against what colonialism imposed in Africa and what African man of colonialism imposes on the people and how the people have to fight through the estrangement and alienation that that imposes. And then what happens between them. The way that he asserts the cultural validity of Africa in that situation is important also. All of the French characters, imprisoned by the relations, the prejudice, but also their position in the hierarchy of things - they can't see the other person, really... So I certainly know that is valid and important. The Lionel Rogosin movie, again, is a really complicated thing, because apartheid was a specific system. He was able to make a movie clandestinely that talked about what that imposed on the people, in terms of the restrictions of the movement, of just simply to exist and to move freely in their own society. And also, what enters the life of the people among themselves, the violence, but also the beauty, the ingenuity, the humour. But it is a precious film. I include that with those New York people,
and all the rest. But maybe it belongs partly to Africa, because of the collaboration of the South African people in that film.
Previously, he made
On the Bowery
On the Bowery
. He certainly was one of the inventors of New American Cinema. He was a theatre owner also; he projected films, foreign films.