ather than Eisenstein's fast and hard cutting, I like to hold the shot very still and for longer than we're accustomed to.… — Jenni Olson Copy Share Image
I want people to have a new way of looking at the world when they leave the theater. — Jenni Olson Copy Share Image
Certainly my films are cinematically unusual, and quite contemplative in their pacing compared to conventional films, but I think overall they are quite engaging,… — Jenni Olson Copy Share Image
While the creative aspects of my filmmaking style are challenging in their own ways, I have developed such confidence and passion over the years… — Jenni Olson Copy Share Image
I think the biggest misconception about experimental film in general is that it is always difficult and inaccessible. — Jenni Olson Copy Share Image
I find that I always also manage to incorporate a simultaneous reflection on cinema history into my films. — Jenni Olson Copy Share Image
ather than Eisenstein's fast and hard cutting, I like to hold the shot very still and for longer than we're accustomed to. For me… — Jenni Olson Copy Share Image
It is vitally important that you prioritize your film and use your time and energy and resources to make it happen. Stop waiting for… — Jenni Olson Copy Share Image
My work is not for everyone, but I think if people give it a try, they may be surprised by how entertaining it is. — Jenni Olson Copy Share Image
I have always been interested in crafting films that use long, static urban landscape shots as a way of manipulating the emotions of the… — Jenni Olson Copy Share Image
I definitely find the technical aspects of post-production generally quite overwhelming. — Jenni Olson Copy Share Image
I've been making 16mm urban landscape films about San Francisco for many years. I choose different nonfiction themes to investigate and am generally interested… — Jenni Olson Copy Share Image
Stop helping everyone else make their films, and enlist them to help you make yours. This is an exaggeration, but the point is -… — Jenni Olson Copy Share Image
