{"id":65558,"date":"2013-04-24T07:15:52","date_gmt":"2013-04-24T07:15:52","guid":{"rendered":"https:\/\/0de2709a84.nxcli.net\/0-kjasnb\/2013\/04\/24\/terence-nance-talks-an-oversimplification-of-her-beauty\/"},"modified":"2018-12-18T09:28:44","modified_gmt":"2018-12-18T09:28:44","slug":"terence-nance-talks-an-oversimplification-of-her-beauty","status":"publish","type":"post","link":"https:\/\/www.blackfilm.com\/read\/terence-nance-talks-an-oversimplification-of-her-beauty\/","title":{"rendered":"Terence Nance talks An Oversimplification of Her Beauty"},"content":{"rendered":"

Terence Nance talks An Oversimplification of Her Beauty<\/a><\/strong>By Wilson Morales<\/p>\n

April 24, 2013<\/p>\n

\"\"<\/a><\/p>\n

From its premiere at the 2012 Sundance Film Festival to other festivals, Terence Nance<\/strong>\u2019s stunning debut film, \u2018An Oversimplification of Her Beauty<\/a><\/strong>,\u2019 is finally hitting theaters this weekend.<\/p>\n

For the young filmmaker, it\u2019s been a long journey taking a personal experience and making a film out of it. Seen as a feature, documentary and with the use of animation, the film documents the relationship between Terence (Nance) and a lovely young woman (Namik Minter) as it teeters on the divide between platonic and romantic.<\/p>\n

Blackfilm.com recently caught up with Nance as he explains what the film is and what the audience should expect from it.<\/p>\n

How would you best describe the film? Is it a documentary or a feature?<\/strong><\/p>\n

Terence Nance:<\/strong> It’s a film where one side is what I would call “non-fiction.” That\u2019s how I would title it.<\/p>\n

\"\"<\/a><\/p>\n

From making the short film to a feature, how long was the process in getting this done?<\/strong><\/p>\n

TN: <\/strong>It took six years before its premiere at Sundance and seven years before it opens in theaters this week. I was in school when I first started this and I would go back and forth while dong other projects. I worked on it for four solid years.<\/p>\n

When did you know\u00a0 you wanted to make this story and how did you come up with the concept of shooting it with animation sequences involved.<\/strong><\/p>\n

TN:<\/strong> It all came about from one evening I had with Namik. At the time, I was obsessed with the idea of impulse and I wanted to make things that didn\u2019t dilute my process of that idea.<\/p>\n

\"\"<\/a><\/p>\n

From what I read, you cut this down from three hours to ninety minutes. How challenging was the editing?<\/strong><\/p>\n

TN: <\/strong>It was a challenge but I knew how long the film needed to be. It wasn\u2019t like I was trying to find the film. There wasn\u2019t a lot of different films to make from within it. There was only one film to be made. From an execution prospective, it wasn\u2019t too difficult.<\/p>\n

The way you incorporate the animation in the film is almost innovative to some in the industry. Were you aware of that?<\/strong><\/p>\n

TN:<\/strong> Not when I was making it, but I think when I was done, I had a feeling that I hadn\u2019t seen anything like this before. Not that anything had existed like this, but I wasn\u2019t aware of one. I do think that the animation, at least on some level, is the attraction that is drawing people to the film.<\/p>\n

\"\"<\/a><\/p>\n

What are your thoughts on love and relationships and will this film give some answers to those probably in the same position that you were in?<\/strong><\/p>\n

TN: <\/strong>This film will tell you what not to do. I don\u2019t think I have a position. I think there is a prescription to any of this. It\u2019s applicable to all situations, but I do think this film is about immaturity and not wanting to embrace the truth and becoming comfortable in an ambiguous state of confusion than advancing to a state of clarity and truth. On some level, it\u2019s very fruitful to a narrative and drama about ambiguity and confusion which is why there is a movie on this.<\/p>\n

Where are you and Namik at this stage right now?<\/strong><\/p>\n

TN:<\/strong> We\u2019re good friends.<\/p>\n

\"\"<\/a><\/p>\n

Having the benefit of touring with the film at festivals, what have you learned as a filmmaker?<\/strong><\/p>\n

TN: <\/strong>I learned a lot. I learned that the festivals are really a viable way to get the world to experience your film. As I started making the film, I didn\u2019t understand the festivals and the way it helps market a film. Through the different labs I was involved with, and making music videos and me starting to make films, I understood its existence and scale and it showed me the power of sharing a film. It\u2019s not a light thing. It can take you around the world and change your resource base as an artist in a way that I don\u2019t think other platforms have. Instantly, there\u2019s a base that\u2019s a world wide network and mobilizing around that has been positive for myself.<\/p>\n

\"\"<\/a><\/p>\n

Now that the film is coming out, where do you go from there?<\/strong><\/p>\n

TN: <\/strong>It\u2019s on to the next one. I\u2019m finishing writing my next movie and pushing it out. My next film, a documentary, is about skin lighting cream, and my next narrative is called \u2018The Lobbyist.\u2019<\/p>\n

What\u2019s a good reason to see \u2018An Oversimplification of Her Beauty?\u2019<\/strong><\/p>\n

TN:<\/strong> It\u2019s an experience you won\u2019t get with other films. The reason I want to see any film is because I haven\u2019t seen anything like that before and it\u2019s out of curiosity for something new. That\u2019s the best selling point for any film, and my film included. Whatever it is that people come to expect, my film won\u2019t be that. It\u2019s a new voice on the scene.<\/p>\n

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