Atom Egoyan Quotes

There is a certain moment in the film when the son is in the nursing home and he goes to the television and turns it off because he sees himself in the image.

You can talk about Holocaust denial, but it's really marginal for the most part. What is compelling about the Armenian genocide, is how it has been forgotten.

As a producer, I think one of the most important decisions you make is not necessarily the material you are working on but the production apparatus that you choose to develop the project with, and that determines what funding you go to, it determines many factors.

Right now my career is totally schizophrenic, because when an American production like Hitchcock Presents asks to see my work I would never dream of showing them my independent films.

Don’t get depressed about not being where you want to be. This nagging feeling of anxiety is actually called ambition. Ambition is your friend.

The fathers greatest folly is that he believes he can be a much more simple person than he is; he is not really able to deal with his own complexity as a human being.

I wanted to make sure that the environment of the shooting itself was not that controlled, and the way to go about that course was to work with as small a crew as possible.

When you're working with a smaller budget I suppose one of the things that has to be in your mind when you are writing is that you have to keep the characters down to a minimum.

It is about this very abstract sense of displacement that he feels the moment he turns off the television.

Though I am still very vulnerable to audiences—and it happens all the time - where for some reason the energy doesn’t connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

When I was planning Family Viewing, the Ontario Film Development Corporation came into existence.

That's a very odd notion because it involves seeing money up there on the screen - if something cost $5 million to make, they want to see that $5 million up there.

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.

I mean, if you are directing actors to do one thing and then directing them to do something else entirely because the one thing you wanted them to do may not work, then you are just shattering their confidence in the project.

My parents taught me to believe that through the creative act, we're able to transcend and give a response to desecration.

I’m Armenian, and April 24th was another commemoration of the genocide of Armenia people by Turkey. The perpetrator never admitted the crime. I was raised with that, this question: how do you actually find the truth of such a traumatic event? I'm obsessed with that issue.

I believe my signal of maturity as a filmmaker iswhen I'll actually acknowledge the fact that the first take is usuallythe best.

People make decisions that may have one intent and yet are somehow perverted into something else. And sometimes it's because of design. Sometimes it's because of happenstance. But very often, it's mysterious to them.

One of the huge advantages of shooting in the winter is that locations that wouldn't have been available to us suddenly were, like Yorkville. ... It's just specific streets and specific angles. I think that's what's always kind of shocking about some cities: they are really about intersections.

I love when people are resilient and when they form ways of dealing with grief or dealing with some traumatic episode, and sometimes those are the wrong choices.

We're lucky to be making films. My crew and I have been working together for a long time. I think that that's what emanates.

The biggest problem with the independent film sector in Toronto is that they find themselves having to make that budget show on screen.

Sometimes you think you want to know something, but it's actually more exciting and more resonant when you have to try [and figure it out].

It was very important that it be done in such a way that it be executed with complete conviction. If I had done it both ways, if I was trying to cover myself in case it didn't work, then it would have been to no purpose.

It is not as though the process of production holds any mystery for me, I know exactly what it involves and I know the predominant concern in shooting one of those things is production values - or as they would say, seeing it all up there on screen.

I make my living doing freelance directing for North American television shot in Toronto, series like Alfred Hitchcock Presents, Twilight Zone, and so forth.

You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.

Working on the themes I was interested in, through the context of a particular family, was a very economical way of dealing with a lot of the issues I was concerned with.

I do think you fall in love when you feel that something of your story is being listened to for the first time, or you feel someone else is hearing it as no one else has ever done.

I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.

Try to produce your own films, avoid directing for hire.

I just think I love the process of making films. It's not tortuous for me at all. I love being with my crew. I love actors. There's a joy to the process.

The directing process is often a continuation of the writing. This is just a different skill-set.

I think in the '80s, when I started making films, we were all suspicious of these technologies. We were all convinced they would filter out any emotion and sense of intimacy, and the films I made during that period reflected that. In fact, what has happened is the opposite. I think we're saturated with a degree of intimacy we would never have expected, and we're trying to sort through this idea of complete access to each other's lives on an ongoing basis. Our emotions aren't filtered out at all. They're actually accelerated.

Every actor has a different temperament. Part of my job is to know what those boundaries are. The actor has to know you'll be there at the other end, that you're trying to represent them in the best light, who they are as they're harnessing these roles. The methods vary from actor to actor.

I think entire social groups are formed through technologies that could never exist in the real world, and relationships that are a function of these technologies' ability to accelerate feeling and emotional contact.

I think ultimately if you have a very high expectation of your audience and you know exactly what it is you're trying to express through the medium of film, there will always be an audience for you.

I started in theater and I wanted to write plays, but I never really found an original voice as a playwright.

I think if you look at the themes that are presented in the film, some are inherently social, and I think that any film which deals with the family is dealing with the smallest social unit in our society - and in a sense it is a question of scope.

I find it deeply upsetting when I see justice not being served. How do we as human beings deal with the unknown? The West Memphis Three trial is a joke on so many different levels.

We're still staring at TV screens, right? They're still monitors. But the way information is delivered is different. So it creates an interesting way of looking back at early films, because they're actually relevant in terms of the devices people are using. But the consideration, the debate, around those technologies was very different from what's being presented now.

The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.