A Quote by Atom Egoyan
I think in the '80s, when I started making films, we were all suspicious of these technologies. We were all convinced they would filter out any emotion and sense of intimacy, and the films I made during that period reflected that. In fact, what has happened is the opposite. I think we're saturated with a degree of intimacy we would never have expected, and we're trying to sort through this idea of complete access to each other's lives on an ongoing basis. Our emotions aren't filtered out at all. They're actually accelerated.
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Who ever thought that intimacy and spirituality [whatever that means] were freedoms? And if intimacy is, one would think Freedom of Intimacy is abridged rather than expanded by marriage. Ask the nearest hippie.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
I was turning up at sets where inexperienced people were making these badly written films - but they were doing it; that was the point. They were getting their films out there. And they were paying me, so they obviously had access to money. I just thought, 'I can make something better than this.'
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
I think what people were trying with me was to figure out who I was. They thought I was funny, but they were like, "How can we use this guy so he can regularly do this?" Does that make any sense? I think people were trying to figure out if my fat peg would fit in their square hole.
I think our lack of intimacy with the land has initiated a lack of intimacy with each other. What we perceive as non- human, outside of us, is actually in direct relationship with us.
I'm quite convinced in my own mind that those who were arguing that [the need to intervene in Iraq] was a more immediate one than some believed - were I'm sure convinced that they were right on fact, I don't think they were making it up. So as to lying, I don't think it has been established that any lies were told.
Marriage is a way to avoid intimacy. It is a trick to create a formal relationship. Intimacy is informal. If a marriage arises out of intimacy it is beautiful but if you are hoping that intimacy will arise out of marriage, you are hoping in vain. Of course, I know that many people, millions of people, have settled for marriage rather than for intimacy - because intimacy is growth and it is painful.
When I started acting, I did many films without even an idea of what the script was about. The film would start, and then we would discover what we were expected to do on the sets. Those days have changed.
I get asked, 'What do you miss most about being a pastor?' I think it's the intimacy, the incredible gift of intimacy. You go through death with somebody, with their families, and there's an intimacy that comes through that that is just incomparable.
Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
Making movies in France is different, but it's still acting, you know. You still have doubts and you're scared, always, but I really love doing films in America, because I love to speak English. But I think there's something very entertaining about American films. But I also like the intimacy of French films.
You can think of my films as cautionary tales, but you might even think of them as despairing tales, because at least in a cautionary tale, you have this idea that by listening to the story you can assure a better outcome. Whereas I'm not at all convinced that's the case. In fact, if anything, I'm convinced that it's the opposite.
I enjoy making films. I have made all kinds of films, including action films, romantic films, period films like 'Kala Pani.'
I make films that are very personal, and I always have. It's kind of the only thing that I think I have to offer as a filmmaker: the intimacy I've had with experience in a particular world, so the film comes from things I've seen and things I've felt. It gets transformed by the process. I don't think I'd ever start making a film until I had both the intimacy with the subject and the distance to make it live in a certain way.
I love looking at the old Bond films. Maybe it's purely out of reminiscence, the nostalgic things you think about. But there were some very good films made, and I think that the public has enjoyed them, too.
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