A Quote by Claudia Llosa
I don't believe in misconceptions in art and films. There are always so many different ways to relate to or understand a film. I love films that give a great amount of space to the audience to explore or be active with what the film is saying.
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Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.
Film is a wonderful thing and it can be so many different things. I don't want to turn my back on any of the different ways movies can be. I love the movies. I love going to the films. I like very serious films, I love foreign films, and I love big, fun movies - as long as they're well made and they've got good scripts. That's the most important thing.
I firmly believe that emotions are universal, and I know that when they connect with the audience, it works. There is no such thing as an entertaining or a serious film; there are good films and bad films. Good films will always find a vast audience.
I like the saying: "The world is as you are." And I think films are as you are. That's why, although the frames of a film are always the same - the same number, in the same sequence, with the same sounds - every screening is different. The difference is sometimes subtle but it's there. It depends on the audience. There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things. And it's probably different from what I fell in love with.
Different directors have different techniques in the use of films. Cronenberg is very different in the way he works with film, and how he takes the audience into his films is different than how Peter Jackson would do that or Jon Stewart. So, if you go between those artists, you shift gears and you kind of fall into the working method of that film.
Sometimes I know a film might not pull the audience to the theatres and have a great collection at the box office. But I need to do these films for creative satisfaction and give something different to the audience.
African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
I love Pixar films; I think they're the greatest filmmakers in the world. I love Disney films. 'Tangled,' was great. I loved 'How to Train Your Dragon,' the Dreamworks film. But it's not for me. I don't want to make a film for families; I want to make adult films.
I've actually done more [music for] films than television. I love the process of writing for a film. I love that you are creating this suite of music for a film, that's all tied together sonically and thematically and hopefully people associate with the film. They all are meaningful to me in different ways.
I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.
But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.
I have a problem with the present definition of commercial films. To me, 'Ghare and Baire' is an absolute mainstream film. There are also many films I have worked in that have been called art films by many. But I consider commercial.
Rather than doing a hero-oriented film, I love being a part multi-starrer film, because such films always strike a chord with audience.
I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you're making a horror film doesn't mean you can't make an artful film.
Each film has its processes. It doesn't mean that all animated films have to be like "Boy and the World," but creators have to have total freedom. There are films that are born with the purpose to sell. They are still admirable films with great artists and great visuals, but we wanted to use a more radical approach to create art. That's what we tried to do.
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