A Quote by Elizabeth Olsen
My brother knows more about film sets than I do, because he works at New York Film Academy.
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My diploma was in film and videography and I then went to a film academy in New York, where I trained in acting as well.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.
I hope it's always going to be a mix between theatre, film and radio. I've been very lucky living in London that you can do all that - in New York and L.A., there's more of a structure for film in L.A. and theatre in New York. In London, our industry is smaller, but it produces brilliant work all in one place.
I don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.
I studied Shakespeare at the American Musical and Dramatic Academy in New York City, and 'Orange' was my first audition ever for TV or film.
I don't go home and pretend I'm August rather than just the actual lines I'm saying in the film. If you do it that way, it makes it more natural and second nature. After awhile you get used to it and there's so much, especially being in New York to film; you're always surrounded by American people.
Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. You have to ask yourself if there's anything about us more important than the fact that we're constantly on film, constantly watching ourselves.
In an old model, the way a film would imprint itself on the public's consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it's harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren't hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
NYU Film School was the way to learn about film, to be exposed to film, to go to repertory houses, to be exposed to New York and see films. I would go to the library and see one, two or three movies a day.
It was in New York, and I've always wanted to film in New York. And the writer was a teenage friend of mine. We did youth theatre together when we were 16 and always had a dream of making a film together. And ten years later, we've done it. So it's great.
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.
There's a teacher at the Renzo Gracie Academy in New York named John Danaher. He's leading this whole group of fighters named the Danaher Death Squad, and they're revolutionizing how that world works. I actually went and signed up for classes mostly because, man, if there's innovation like that happening in New York, I want to be around it.
My enthusiasm for joining the New York Film Academy is predicated on my personal explorations into video as well as a sense of responsibility to share my extended experience of photography with committed students in both mediums.
Our film [Hide and seek ]was created as part of the Asian American Film Lab's 11th 72 Hour Film Shootout filmmaking competition, where filmmaking teams have just 72 hours to conceive, write, shoot, edit and submit a film based on a common theme. The winners were announced during the 38th Asian American International Film Festival in New York last July. The theme for 2015 was 'Two Faces' and was part of a larger more general theme of 'Beauty'.
Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
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