It’s also about how things do and don’t change with time, and how the past is always present, which is a theme in a lot of your films.
Farhadi: Yes, this is a personal question, something that’s haunting me. The older I get, the more I’m haunted by it—this relationship that we have with our past. A friend in Spain told me this Cuban saying: “We don’t remember what past we had, or what past is awaiting us.” That’s something that I think is very true. In my culture, in Iranian culture, the past is very predominant, maybe I should say unfortunately, because nostalgia and the longing for the past is something that maybe sometimes prevents us from moving on.
Source : https://www.slantmagazine.com/film/interview-asghar-farhadi-on-everybody-knows-and-the-persistence-of-the-past/
Stéphane told me that your new film was going to be about a young man that kills himself-no, that arranges for his own death by protest. And I replied, I find it very hard to believe that any character in a film by Bresson would kill himself for anything other than internal reasons.
Rober Bresson: You know, there are young people who kill themselves for this same reason that he does in my film. I think in the whole world things are going very badly. People are becoming more and more materialistic and cruel, but cruel in another way than in the middle ages. Cruel by laziness, by indifference, egotism, because they think only about themselves and not at all about what is happening around them, so that they let everything grow ugly, stupid. They are all interested in money only. Money is becoming their God. God doesn’t exist anymore for many. Money is becoming something you must live for. You know, even your astronauts, the first one who put his foot on the moon, said that when he first saw our earth, he said it is something so miraculous, so marvelous, don’t spoil it, don’t touch it. More deeply I feel the rotten way they are spoiling the earth. All the countries. Silence doesn’t exist anymore; you can’t find it. That, for me, would make it impossible to live. The way this young person wants to die — he doesn’t kill himself, himself—he makes himself be killed. The old Robin Hood people used to commit suicide with the help of friends. He kills himself for a big purpose.
You’ve been called a one-woman army. Why did you decide to do it all on your own?
Rima Das : I had no option but to do everything on my own. I had run out of money while making Antardrishti: Man With The Binoculars, my first feature film. So, when I started filming Village Rockstars I didn’t have the money to engage professionals. Besides, VR is a story about children, by children. This was a tough project. Working with non-actors, especially children who have never acted before, I knew I would need to spend time with them, feel their energy and conduct extensive workshops. This meant I couldn’t have a tight schedule in place. If I had engaged professionals, I would have naturally had to limit this exploration within a time frame and that would mean compromising on many aspects. The story began to develop as I started shooting, therefore I guess I needed the flexibility and freedom.
Source : http://www.vervemagazine.in/people/boss-lady-rima-das-on-village-rockstars-and-why-realism-is-intrinsic-to-good-cinema
Some have said that these changes – the high-rise buildings, the crowd – have stifled creativity.
Mohsen Makhmalbaf: You could have your story. It doesn’t matter — high buildings or low buildings, empty city or crowded city. You can create your story, you can share your story, and through it we can understand your condition.
We have only one life, but each film gives us another life. Watching films and reading novels, they give eternality to the audience. So it’s very important to see different kinds of films, from different nations. Because many of Hollywood films are the same, they have no diversity.
Source : https://www.buro247.sg/culture/insiders/interview-with-mohsen-makhmalbaf-singapore.html
What do you think about the state of Hollywood movies?
Almodovor: It’s very difficult for me to go to the theater and find movies that I love — much more difficult than before. Maybe I’m getting old. Either that or I find it more difficult for a story to surprise me. I think that film right now is worse than it used to be. For example, I don’t think that you see the kinds of films you saw in the ’60s or the ’70s.
I have no real interest in films that have to do with superheroes and sequels, prequels, reboots — all this kind of business. Ironically, on some level, the fact that movies are so technically proficient works against them. I used to be interested in the adventure film or any chase film before the effects were so perfect. The digital, the synthetic aspect of the image, has taken some of that away from me. There was a sense of danger that was exciting.
Source : https://variety.com/2016/film/news/pedro-almodovar-interview-julieta-director-1201941446/
Have you been changed by having so much success?
Paolo Sorrentino: Success didn’t change me, and I have never made big changes in my life. I am married to the same wife and I live in the same house. I am a self-contained person and I read very little of whatever it is they write about me. I have the same life that I had 20 years ago, and that’s a very good way to put boundaries on temptations. I didn’t change my life, and I still have the same dream that I had as an adolescent: “To Make a Film.” When I was a young man I was afraid that my dream could not be realised. Now I know that I can realise it, and this gives me the necessary serenity to write a novel or make a film.
Source : http://alainelkanninterviews.com/paolo-sorrentino/
Q : The way you describe your job, it just has all these paradoxes, like knowing to follow the rules and when to break them. It seems like each movie is a minefield
Hans Zimmer : Everything is a minefield. Yeah, it really is. I actually taught [composer] John Powell years ago. I mean John Powell said it back when I was struggling in trying to find the tone or whatever and the piece of music was crap [Laughs]. But I knew the idea was good, and I just couldn’t make it into music. In typical John Powell fashion he said, “Hans, you just need to wait a while until you get it under your fingers.” And that just really made sense. You can’t just walk in and come up with a masterpiece. You come up with feces, simple and unordinary and … Of course, that’s not what you want to do. You want to go and try this new idea and be really good at it but it takes a while. Every film you have to learn the language. Especially from scratch.
Source : http://www.slashfilm.com/interview-composer-and-masterclass-teacher-hans-zimmer-on-the-questions-that-drive-him/