A Quote by Miguel Gomes
I would not like to have a homogeneous type of film. I wanted to go to many different kinds of ways of making cinema and telling stories and watching the country.
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There are many different ways of telling an interactive story, I think. I don't think there's a right one and a wrong one. There are different games telling different types of stories in different ways.
There is no one kind of thing that we 'perceive' but many different kinds, the number being reducible if at all by scientific investigation and not by philosophy: pens are in many ways though not in all ways unlike rainbows, which are in many ways though not in all ways unlike after-images, which in turn are in many ways but not in all ways unlike pictures on the cinema-screen--and so on.
I think that stories, and the telling of stories, are the foundations of human communication and understanding. If children all over the country are watching films, asking questions and telling their stories, then the world will eventually be a better place.
If you want to be a director, work with writers and find different ways of telling stories with film, then do a course. This way you can consolidate what you've learnt and use the course to go further.
The film The Conquest will be seen on many different levels and the American point of view is always more technical. The French are less technical - it's 'I like it, or I don't like it.' I hope that this film can have a life in the U.S. - it's the grand country of cinema. I grew up with Hollywood movies, so for a French director to have a film distributed in the U.S. is a real opportunity.
My real purpose in telling middle-school students stories was to practice telling stories. And I practiced on the greatest model of storytelling we've got, which is "The Iliad" and "The Odyssey." I told those stories many, many times. And the way I would justify it to the head teacher if he came in or to any parents who complained was, look, I'm telling these great stories because they're part of our cultural heritage. I did believe that.
I don't really follow television so much, but in the old days there was a certain way TV was, and it wasn't really like cinema. I don't know how many ways it was different or the same, but it was not quite like cinema. Now, cinema can happen on television.
I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'
I went from silent films to watching French new wave cinema. I became entrapped by it all. That's when I knew I wanted to do film. The moment you start looking at film from a critique point of view - there's a difference between watching a film as an audience and with a critical point of view.
What is more important today for the audience is to have different kinds of content. They like variety, they like different kinds of stories, different kinds of entertainment.
There's a difference between watching a film and watching a bit of cinema and enjoying a film as a piece of cinema.
With 'The Conjuring,' I really wanted to create classical cinema-style film-making, pure cinema as it were.
I like watching film, I go to the cinema, but a lot of times I go to see kids' films.
You know, I grew up watching all kinds of films. So, as an adult, I wanted to be involved in all kinds of plays and television and film.
I grew up watching cinema in my country that wasn't telling stories about us, and we had to find a way to connect, and our references, our role models had nothing to do with us. And I'm so glad that it's changing.
I started watching so many different types of women, saw all the complexities of them, all the ways and the look and shapes they could be, and I felt it was missing for me in American film. I didn't see anybody I was watching in movies that felt like me. I felt rather tortured and lonely about it.
