A Quote by Atom Egoyan
The whole film is about people being convinced that they can reduce themselves to their archetypes.
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I can do something about people who need me, who have been injured. So the biggest thing about being a doctor is my education and training means I can help people to reduce their suffering and that's what being a doctor is, to reduce suffering and to try to improve the life of people who have been injured.
If it was all about me, I'd do a whole lot of pop records, make a whole lot of money, just rake in the dough. But it's never been all about me. It's all about being a voice for the voiceless. People who can't speak for themselves, who don't have a mic, don't have a say.
The first half [of Valley of Violence] was to endear you to all these people and give you all these archetypes that you're familiar with, and then the second half, just to see all those archetypes unravel like real people.
Thrillers rely on certain archetypes and our familiarity with them is quietly driving all of the tension. So it becomes an interesting challenge from the score perspective, to enhance that tension without being noticed, just like those archetypes.
If you ask a filmmaker to analyse his own film, it would take three or four years to do that, honestly. Because when you make a film, you have to be convinced about it. You are married to that film for a year.
It's bloody annoying being shy. I'll spend a whole evening at a party asking everyone else about themselves. I'm not being self-deprecating; it's because I'm too shy to talk about myself. So people come away from the evening actually having learnt nothing about me.
I think my music being referred to as "cinematic" has a lot to do with people just not being used to listening to instrumental music without watching a film. I'm still pretty convinced of that. You'll play Chopin in place of something average and like, "Wow, that'd be great in a film." People say it every time, swear to God. I don't think people have a good relationship with instruments and music anymore. But it's definitely visual; I started writing with this band because of the pictures. I can't really deny it either, you know?
That's always been my approach, to expose what's going on and what's not being said. I could go the selfish route, and probably make a whole lot more money, but that's not what it's about, it's about speaking for people who can't speak for themselves.
It does not feel any different being directed by a first-timer as long as I am convinced that the director is passionate about the film he or she is making. If you get a sense of their vision for the film and their aesthetics of your performance, then it does not matter whether you work with a new or an experienced director.
I am very proud of this work because it is more about the meaning of the Easter Rising and its relationship to what this whole century has been about, people liberating themselves, freeing themselves.
I was tied down in that chair for 10 minutes and experienced what it was like to be completely powerless while someone else has complete dominance. It's sadistic, even though I find Richard to be a really lovely human being. That's what the whole film "Tickled" is about. It's not a film about tickling, but I think tickling offers a really good visual metaphor for the much bigger ideas that we were trying to get at about power and control - by people who have a lot of money - over people without money and who have no power in the relationship.
If you know your archetypes - and not just yours, if you know how to perceive the world in archetypes, through archetypes - everything changes. Everything. Because you have two things: you can see through one eye which is impersonal, and through the other, which is personal. That's the way the game is written down here.
A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.
There's a great deal of tension between so many kind of distinctive and restrictive female archetypes and images in the world. When you play with the archetypes, you get free.
[10 Things I Hate About You] keeps popping up, and it's become a go-to film specifically for adolescent girls who are trying to find their voice, which is a really important thing, and the characters in the film, the two sisters played by Julia Stiles and Larisa Oleynik, they became archetypes for young teenage girls to look up to and emulate.
The whole people must take upon themselves the education of the whole people, and must be willing to bear the expenses of it. There should not be a district of one mile square, without a school in it, not founded by a charitable individual, but maintained at the public expense of the people themselves.
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