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Working on the themes I was interested in, through the context of a particular family, was a very e
Working on the themes I was interested in, through the context of a particular family, was a very e
Working on the themes I was interested in, through the context of a particular family, was a very e
Working on the themes I was interested in, through the context of a particular family, was a very e
Working on the themes I was interested in, through the context of a particular family, was a very e
Working on the themes I was interested in, through the context of a particular family, was a very e
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Atom Egoyan:
As a producer, I think one of the most important decisions you make is not necessarily the materialAtom Egoyan:
I wanted to make sure that the environment of the shooting itself was not that controlled, and theAtom Egoyan:
Once we were in the studio, we realized we were getting certain effects through the shooting of theAtom Egoyan:
I think the situation in Toronto is such that there are funding organizations which make it easy foAtom Egoyan:
There is a certain moment in the film when the son is in the nursing home and he goes to the televiAtom Egoyan:
It is about this very abstract sense of displacement that he feels the moment he turns off the teleAtom Egoyan:
The programme has ended, something has finished, and he has a sense of something having finished itAtom Egoyan:
These sorts of things can happen, identities can be switched, the emotional implications are somethAtom Egoyan:
The film camera's ability to physically move through space, not zoom through space - every time weAtom Egoyan:
These are very subtle things, of course, and I don't expect everyone to pick them up consciously, b