A Quote by Sebastian Lelio
In Latin America, cinema has always been a bourgeois activity, I guess, as it is everywhere. It's just a stupidly expensive art form, and there is nothing you can do about it.
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Mexico City is the center of art and culture and politics and has been and continues to be for Latin America in a way that I think really called to me as an artistic person, as someone that was interested in the politics of Latin America, you know. God, every single famous person in Latin American history and art and politics seems to have found their way to Mexico City.
Historically and politically, the petit-bourgeois is the key to the century. The bourgeois and proletariat classes have become abstractions: the petite-bourgeoisie, in contrast, is everywhere, you can see it everywhere, even in the areas of the bourgeois and the proletariat, what's left of them.
It's just odd that something as essential in life as sex has been flattened out in mainstream cinema - and in art cinema. Even in art movies, sex always seems to be treated negatively. Why does it always end in disaster?
Latin American Art is an operational term used to describe art actually made in the more than twenty countries that make up Latin America and that encompass Mexico, Central and South America, and the Caribbean.
If it is an element of liberation for Latin America, I believe that it should have demonstrated that. Until now, I have not been aware of any such demonstration. The IMF performs an entirely different function: precisely that of ensuring that capital based outside of Latin America controls all of Latin America.
Cinema is a form of art, and like every other art form, cinema also needs freedom of expression.
Cinema is a kind of pan-art. It can use, incorporate, engulf virtually any other art: the novel, poetry, theater, painting, sculpture, dance, music, architecture. Unlike opera, which is a (virtually) frozen art form, the cinema is and has been a fruitfully conservative medium of ideas and styles of emotions.
I'd love to do some collabs or music with Latin artists and in Latin America - we're working on it! I just really love Latin America and the language, culture, foods, people, and it's a place I grew up visiting pretty often.
Immigration reform doesn't impact me personally; nothing my foundation works on does. But the truth is I have a long history of ties to Latin America. Some of my best friends are in Latin America.
People think that the art market is about opportunists and hedge-fund managers getting broken art, but what really happened is that there was a new configuration of bourgeois values in the U.S. and an acceptance among the bourgeoisie of contemporary art as an idea. I think that bourgeois people are horrible.
I'd been educated stupidly, I knew nothing about nothing, that's part of being shy.
This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.
I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
With almost no exceptions, art by men is much more expensive than art by women. Even great women artists, like Louise Bourgeois and Lee Krasner, are only fully embraced very late in their career.
I'd love to do some period pieces and some historic work; I just feel like no one's tapped into Latin history and Latin contributions to the making of America, and we've been there over 500 years.
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