A Quote by Nicolas Provost
[My work] looks very cinematic because it's not abstract video art. It's sometimes very narrative and since I play with film grammar in my video work, making a feature film was almost the same challenge.
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I respect people that are die-hard film people, but I started on video. I started on Hi8 video and mini-DV, and I made skate videos. So, I love film, and I love the way it looks, but I also love the way crappy video looks, or VHS. I've always been a fan of whatever the look is that's appropriate for what the feeling is.
The video game culture was an important thing to keep alive in the film because we're in a new era right now. The idea that kids can play video games like Grand Theft Auto or any video game is amazing. The video games are one step before a whole other virtual universe.
People sometimes think that a video pops out of my head with no more work than extracting a booger. Every video is a challenge (an exciting one, sure, but a challenge.) Every collaboration is complicated.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
When it comes to working from home, when it comes to video conferencing, it's got to work. Anytime you want to meet someone, the quality has got to be good, very reliable. Otherwise, you've scheduled a very important meeting with a customer - oh my God, if the audio is choppy, the video doesn't work, you're not going to try it anymore.
There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.
Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.
You make a horror film that's not very good. You'd be joining a long line, in a long video aisle, of stuff that doesn't work.
Actors can be very precious about their work and their scenes, but I think good actors have a strong understanding of narrative and are very often not as precious about that stuff. They just can't be because they understand what makes for a better film, and that it's the job of the actor to work toward that, and then if you want you can go to acting class or workshops. But making movies is not workshops.
In the film industry you work very long hours, and making a film is a very intense process.
My creative process is a bit manic at times, to be honest. I wake up Monday and Thursday stressed because I don't have a video. I usually - with the exception of maybe a handful of videos - wake up, write the video, shoot the video, edit the video, release the video all in the same day.
For the very first video I ever made, I was told to film our family reunion, or something like that, and I had so much fun with it that I just kept doing it since then - probably since seventh grade.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
Film work can be very interesting, but it also can be awfully boring because who creates the film? The actors? No. It is the director. It's his piece of work.
I thought there was a way of marrying what I wanted to do with filmmaking with pop videos, which I found out through a couple projects just wasn't possible. That's not saying anything about the artist. If you're making an Usher video, you're making an Usher video, not a film with an Usher song in it.
I had seen 'Onaatah' when I was a part of the National Film Awards jury in 2016. I was very impressed with the film because it was a small but a very inspiring film. Since it touched my heart, I thought of remaking it.
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