A Quote by Atom Egoyan
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.
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Ironically, it's easier to raise the money to make the film than it is to have the film find wide distribution.
When you have your chance to make a film, don't focus on pleasing everyone. I think the goal is to live in that sweet spot where you focus on making a good film and you have fun with your collaborators, but you don't waste your energy chasing approval every which way. When you have a vision and a good story and you've managed to raise funding, it is your approval as a director that everyone should be seeking. It's very simple.
There are more women editors than people realise. I think we're more able to keep our eye on what the film needs. Between men, sometimes it's a real ego battle, and that's very bad for the film.
I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.
A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
I could have made a small film and kept all the money from 'Life is Beautiful'. Instead, I spent more money than I had on 'Pinocchio', a very risky film.
When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.
I think quite often when you have a hell of a lot more money and time, as you very much do on a big studio film, you don't necessarily have to make the decisions right there. You can always goback and reshoot it.
For me, it was always clear that Toni Erdmann is more a film about what globalization, capitalism, does with private relationships much more than making a "political" film. It's more interesting to raise questions, because I don't feel in a position to "make a statement" with the film. Toni Erdmann comes from a completely different generation then his daughter, it's the post-war generation, they were very politically engaged. They raised their children with a lot of human worldviews, sent them out in the world believing in a world without borders.
The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.
Generally, you want to raise capital either when you have to or when it's really easy. If the company desperately needs money, and they can't figure out any other way, then they need to raise money. Or if someone's offering you easy money on good terms, you should take it because you can use it for good things.
It's hard to make a film in Britain. It's hard to raise money. The best stuff that is shot on film in Britain is usually shot on film for television.
I thought 'Deliverance' was a very good film. But it didn't have the success financially that 'Smokey and the Bandit' did, although that film made more money than 'Star Wars' in the first week.
When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.
The amazing fact that one person can make his own film - I think animation is somewhat unique in that respect. I don't need to deal with lawyers. I don't need to deal with corporations. I don't need to deal with executives or agents or any of that. I can just sit at home and make a feature film. That's a wonderful experience. Each film I make gets more popular, more press and makes more money. So it's amazing that I've survived and actually prospered doing that sort of homegrown, cottage-industry filmmaking.
As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.
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