As I began making my feature films, it was a great adventure. It was about constructing something I saw in my head or I had designed on storyboards and capturing that on film.
I knew Secrets and Lies was a great film, but I didn't expect it to get the attention it did because none of his other films had and I thought they were just as good.
So, thanks God, our films, our first films were suddenly being appreciated by the Western media; especially France was very good, and Switzerland was very good.
I'm not making films for middle aged journalists, who are mostly men. I make films that hopefully entertain people, where they can learn something about life.
I acted in theater and I took film classes when I was 12 and just obsessed over it. I loved it and spent hours and hours in the film studio learning and watching.
I used to love going on a junket and promoting a film when it was not a 24-hour news cycle, and when there weren't so many media outlets. You could actually talk about the film.
I would love to produce a film. I have written a script and am in the process of writing another, so maybe it will happen down the road. I would love to do a film in Africa.
My brother knows more about film sets than I do, because he works at New York Film Academy.
My agent in London says all New York films are wonderful if they're really New York films because they're like travelogues.
Clearly any film company that makes a film is always going to talk about sequels particularly if they see something as being successful, which Werewolf was.
You know, I grew up watching all kinds of films. So, as an adult, I wanted to be involved in all kinds of plays and television and film.
In Iranian cinema, all the lying takes place before making the film. In order to be able to make the film, you have to lie.
Normally, when people compose for film, you give them the film, and they look at it, and they compose it.
Artist Matthew Barney has made a film about “shit”. It is hardly original. Hollywood has made shit films for decades.
I had lived in Fukuoka during the mid 1990s, and I was a volunteer with the Fukuoka Asian Film Festival.
When Walt Disney was making his films, he trusted his instincts and made films for himself, but they appealed to everybody, not just kids.
If you make a film normally it's all right, the distributors are helpful and cooperative. But if you make a film that's a little stange, a little bizarre, then all the time it's a struggle with them.
Early on everyone should do, every time they do a big film, they should do a little film. It really does keep you grounded.
Luigi Castigliane: This is the girl! Adam Kesher: Hey, that girl is not in my film! Vincenzo Castiliane: It's no longer your film.
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.
There's very few people who want to just make beautiful films that make money, when they can make films that make huge money.
