Citation :
« The camera is so expensive and the film stock is so expensive. I've got some money in the bank. I can make a 60-minute 16mm film, but I don't want to, not yet, because I'm so afraid of the cost involved. I don't want to run off a thousand feet in 16mm and say 'Oh God, this is a piece of shit.' I'd rather work in Super 8 where I can work the camera myself. I can be in it myself, I can feel it. I can get the tone of the film. I can figure out what I want to say visually and sound-wise. I could write all I want but writing is not film. To me, the Super 8 format is personal. It was conceived for the home movie market from the very beginning, for people to take home movies, not to edit them, not to put on glossy soundtracks, but rather to find tones, to find human beings, real emotion. Whereas, with 16mm, you will possibly have to have a camera person, a camera assistant, a sound person, sound assistant. Suddenly, when you have four people or even two people on set with you, it becomes a question of whether you have it together enough or not. »
-- Midi Onodera

Source :
DOYLE, Judith. « Midi Onodera » , entretien avec Midi Onodera, dans In a Different Voice: Conversations with Women Artists and Filmmakers, Toronto, Funnel Experimental Film Theatre, 1986. [en anglais] [catalogue d'exposition] (p. 35)