A Quote by Kay Kay Menon
I've worked with a lot of people who have a lot of integrity towards cinema.
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After the World Cup, the next two or three days there is a lot of celebration, a lot of obligation, towards the country, towards the French Federation, towards the fans. And then, after that, you feel so empty - mentally and physically. It's a long tournament; it demands a lot of energy and a lot of emotion.
You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, we had a lot of our skin stuff worked out and that helped a lot. We have a lot of exchange happening.
Actually I don't watch a lot of films but when I do, I like experimental, avant garde, European and world cinema. That is the language of cinema I am drawn towards. I don't watch much Hollywood or Bollywood.
When I was 16, I watched a lot of world cinema. I borrowed a lot of my personality from cinema. It has been one of my biggest teachers.
I grew up in a very music-loving home with a lot of records, a lot of TV, a lot of radio, a lot of video - VHS cinema, basically.
I worked on the line, I've been an executive chef, I've worked for the Mets, I've worked for various steakhouses, vegetarian restaurants, a lot of Middle Eastern stuff. I've worked my fair share of a lot of different things. I've worked at festivals and street fairs, you know? I've been through it all.
I started out as a producer. and I used to work at Disney. and I worked with a lot of the animators and went on to become great friends with a lot of these guys and worked on a lot of projects together.
I had a lot of jobs when I was younger. Where I grew up, there was a lot of agricultural jobs, so I worked on a lot of farms. I worked in the pea fields, harvesting peas.
I worked in a lot of cinemas when I was at college, and I'm a movie dork, and it's a nice thing to do while you're on tour. Everything is different a lot of the time - you're never in the same place - but I like going to the cinema because it feels like no matter where you are, the experience is really the same.
I had a lot of great bosses - I worked for Gina Prince-Bythewood for two years, I worked for Ava Duvernay as a PA on her first narrative film, and I worked with Mara Brock Akil, so a lot of wonderful role models.
Being in recovery for a lot of years now, I've worked with a lot of people who've gotten sober and sat with a lot of folks who are suffering. Bearing witness is a really underrated thing; it's a big damn deal.
There are a lot of things about my career now that are as I imagined, hoped for and worked towards.
I've been working almost 20 years, and I think I've worked with maybe one black director of photography in that time. Maybe two women directors or DPs. Maybe. And I've done a lot of TV. That's a lot of people I've worked with.
A lot of people don't watch cinema. They can't afford movie tickets, they can't go to theatres to watch cinema, they are not on social media. How do you reach out to those people as an artist?
I've worked with a lot of animals and a lot of kids. I've never worked with an animal or a child who I wouldn't want to work with again.
My father was very strong. I don't agree with a lot of the ways he brought me up. I don't agree with a lot of his values, but he did have a lot of integrity, and if he told us not to do something, he didn't do it either.
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