A Quote by Ari Aster
With 'Hereditary', I wanted to make a film about what bothers me about life.
Related Quotes
People think I'm against critics because they are negative to my work. That's not what bothers me. What bothers me is they didn't see the work. I have seen critics print stuff about stuff I cut out of the film before we ran it. So don't tell me about critics.
'Hereditary' is unabashedly a horror film, whereas 'It Comes at Night' was a lot of things: it was a thriller; it was a postapocalyptic drama. It was a slow-building, very dark movie about relationships. 'Hereditary' is also about relationships, and I hope it functions as a vivid family drama, but it is also very much a horror film.
The idea of hereditary legislators is as inconsistent as that of hereditary judges, or hereditary juries; and as absurd as an hereditary mathematician, or an hereditary wise man; and as ridiculous as an hereditary poet-laureat.
I wanted to be a car mechanic and I wanted to race cars and the idea of trying to make something out of my life wasn't really a priority. But the accident allowed me to apply myself at school. I got great grades. Eventually I got very excited about anthropology and about social sciences and psychology, and I was able to push my photography even further and eventually discovered film and film schools.
When industry people see something different they don't know what to do with it, so filmmakers who make films about women, they kind of fall through the cracks. If a woman filmmaker makes film about war, like [Kathryn] Bigelow, they say "Okay, this is a war film, it has ninety percent men in it, we know what to do with it." But then she still gets attacked for not doing it properly. [...] But even though it bothers me I don't want to dwell on the sex and gender thing.
If you're going to make a film about rage in 2018, 2017... If you're going to make a film about revenge and anger, I feel like that has to be a film about women. I don't really want to watch a film about angry men. I've seen way too many of those.
Doing interviews about my films really bothers me sometimes, because I have to speak directly and clearly about things I've intended to keep ambiguous, and in a way, I feel like I'm betraying my film.
My life - autism's an important part of it, but it bothers me when I see kids where autism and their autism is the only thing they think about. I'd rather have them think about, you know, some art work they were gonna do or some science they wanted to do.
People make films about all kinds of relationships, but they won't do these extremely intense platonic love affairs that happen between young girls. In a way they are more intense than anything else you ever have, and that's what I wanted to make a film about, though it was in the context of a horror film.
If you wanted to make a film about British teenagers, it would be... well, it wouldn't interest me; let's put it like that. They'd be listening to music I hate, watching TV all the time, and talking about 'Big Brother.'
I'd never make a film that I am not passionate about. My whole life, I've only made the films I wanted to make, even when I had limited means.
Campaigns and elections are not a game. They're not a game. They're about trying to change America. We're the wealthiest country in the history of the world. We should not be having Flint, Michigan, or African-American communities all over this country where schools are failing. Those are the issue we got to pay attention to and not at this as come kind of silly game. And that is the critique that bothers me. That's what bothers me about media coverage.
When the producers of 'Why Poverty?' came to me to do a film about poverty in the United States, I asked if I could do a film about wealth instead. I tend to make films about perpetrators, rather than victims.
It's not what happens in life that bothers us. It's what we're believing about it that bothers us.
I was interested in immigration and I wanted to use that in the film, not necessarily to talk about immigrants, although I wanted to do that, but to talk about ourselves through the eyes of an immigrant. The film takes place in the school and it tells us a little bit about who we are and where we're at, but through the eyes of someone who has a different background.
'Dil Chahta Hai' was too raw. We only thought about the film. We never thought where the film was going to go. We wanted to make a film on our own terms.
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