Atom Egoyan Quotes Quotes

As a producer, I think one of the most important decisions you make is not necessarily the material you are working on but the production apparatus that you choose to develop the project with, and that determines what funding you go to, it determines many factors.
I have always felt that this story is universal. When I began to understand the details of the history, I felt that the most compelling aspect was not what happened, but what continues to happen and how it is denied.
I mean, if you are directing actors to do one thing and then directing them to do something else entirely because the one thing you wanted them to do may not work, then you are just shattering their confidence in the project.
I suppose I had these concerns but I really felt that I had to keep my scope very, very concentrated.
I think if you look at the themes that are presented in the film, some are inherently social, and I think that any film which deals with the family is dealing with the smallest social unit in our society - and in a sense it is a question of scope.
I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.
I think ultimately if you have a very high expectation of your audience and you know exactly what it is you're trying to express through the medium of film, there will always be an audience for you.
I wanted to make sure that the environment of the shooting itself was not that controlled, and the way to go about that course was to work with as small a crew as possible.
I've just been very, very lucky with the film having been introduced in the right way.
It is about this very abstract sense of displacement that he feels the moment he turns off the television.
It is not as though the process of production holds any mystery for me, I know exactly what it involves and I know the predominant concern in shooting one of those things is production values - or as they would say, seeing it all up there on screen.
It was very important that it be done in such a way that it be executed with complete conviction. If I had done it both ways, if I was trying to cover myself in case it didn't work, then it would have been to no purpose.
My parents taught me to believe that through the creative act, we're able to transcend and give a response to desecration.
Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.
Right now my career is totally schizophrenic, because when an American production like Hitchcock Presents asks to see my work I would never dream of showing them my independent films.
That is where the irony of the film comes off, in terms of the language it employs - where he tries desperately to be a 'TV Dad,' to give advice and it's so pat it becomes ridiculous.
That's a very odd notion because it involves seeing money up there on the screen - if something cost $5 million to make, they want to see that $5 million up there.
The father's greatest folly is that he believes he can be a much more simple person than he is; he is not really able to deal with his own complexity as a human being.
The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.
The programme has ended, something has finished, and he has a sense of something having finished its course, and then all of a sudden he turns away and this other thing has just finished its course, this other person.
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AuthorName
Atom Egoyan
Profession
Director
BirthDate
19 July, 1960
Country
Canada
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