"We are here predominantly to support independent filmmakers and their needs. We are also here to assist people actually in their production, non-commercial people in their production"
About this Quote
There is a quiet radicalism in the plainness of Ann Macbeth's language: no grand manifesto, just an insistence on who gets served. The repetition of "we are here" reads like governance, not inspiration - a mission statement meant to discipline an institution as much as reassure its constituency. Macbeth draws a boundary around attention and resources, and she does it with the bluntest instrument available: "predominantly."
The key phrase is "non-commercial people". In an era when film and visual production were rapidly professionalizing - consolidating capital, equipment, distribution, and taste-making in fewer hands - Macbeth is naming a class of makers who are structurally disadvantaged. "Independent filmmakers" isn't just an aesthetic category here; it's a logistical one. Independence means you lack the industrial backstop: the studio system, the patron, the pipeline. Her emphasis on "their needs" and "assist people actually in their production" makes the subtext unmistakable: artistry is often strangled by infrastructure. Cameras, stock, studio space, training, networks - these determine whose stories get finished, not merely whose stories are worth telling.
The doubled phrasing ("support... and their needs"; "assist... in their production") signals a practical politics. Macbeth isn't romanticizing the outsider. She's arguing for service provision: an ethic of institutional care aimed at getting work made rather than merely admired. The intent is coalition-building with a specific constituency, but also a preemptive defense against drift - the familiar fate of cultural organizations that start scrappy and end up catering to sponsors, gatekeepers, and prestige.
The key phrase is "non-commercial people". In an era when film and visual production were rapidly professionalizing - consolidating capital, equipment, distribution, and taste-making in fewer hands - Macbeth is naming a class of makers who are structurally disadvantaged. "Independent filmmakers" isn't just an aesthetic category here; it's a logistical one. Independence means you lack the industrial backstop: the studio system, the patron, the pipeline. Her emphasis on "their needs" and "assist people actually in their production" makes the subtext unmistakable: artistry is often strangled by infrastructure. Cameras, stock, studio space, training, networks - these determine whose stories get finished, not merely whose stories are worth telling.
The doubled phrasing ("support... and their needs"; "assist... in their production") signals a practical politics. Macbeth isn't romanticizing the outsider. She's arguing for service provision: an ethic of institutional care aimed at getting work made rather than merely admired. The intent is coalition-building with a specific constituency, but also a preemptive defense against drift - the familiar fate of cultural organizations that start scrappy and end up catering to sponsors, gatekeepers, and prestige.
Quote Details
| Topic | Movie |
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