I feel relief about the Oscars. You know, you're not in this business for prizes but, okay, I missed one.
I teach myself archaeology, I teach myself Spanish, and that's because it can be fun, it can be useful. So I keep studying. I read books because I still want to study. I don't want to stop.
I'm pretty optimistic that in the future these kind of films will also be part of the main categories, perhaps not in a foreign language, but certainly more socially and politically engaged films, or films that will happen where the story takes place outside the United States.
If you look at the Oscars and look at the Best Foreign Language series, you see that the films are coming from everywhere - from Quebec, Israel, Poland, and Belgium. It's not the usual French, German, etc. This category is opening up to socially engaged and political films. I think we're going to see a cross over to the main categories also. It's part of this global environment now and I'm grateful that the Academy is having this window on world cinema.
If you look at the end of the movie [Monsegnor Lahzar], I give a lot of space to what the spectator can also imagine of what's going to be Bachir's life afterwards. So, there's the restraint part, and there's the fact that the story is happening in the school which allowed me to tackle all these subjects without making it too didactic, because in the school everything happens.
It's like a laboratory, a micro-society of real life, so it didn't look odd to talk about bureaucracy. In the school, in the class, there are already a lot of children from different ethnic backgrounds so the reality is there. I don't have to shove it in people's face. It's just there and it's normal.
There is some humor in Monsieur Lazhar and in all my other films, but this one I'll try to make a real comedy from start to finish. It's called Prescott Etc. because the name of the constituency is so long that everybody in the constituency just says Prescott Etc. I don't know if that's what it will be. It's a working title.
I didn't want the film to be didactic, and this is tough because if you look at the list of issues, you have immigration, the education system, you have the grieving, you have suicide. I think what saved me were two things. I tried to do everything with some level of restraint and let the spectator make up his own mind.
In Canada, I've had success raising money. I think I was fortunate enough. But today, I would have to write a very, very bad script not to be financed for the next one. I'm assured at least of the next one, but you're always [only] as good as your last film. I think it's true for anyone.
I'm writing a political comedy that takes place in Canada in Quebec. It's funny. Saying political comedy is a little redundant but it's a first. I've never done any comedy per se.
We get through life and this is part of the education process also. In real life, we meet bad bosses and good bosses and good friends and bad friends. I think we should let the teachers do their work and not impose too much stuff on them.
Now I realize that I have to let everyone take what they have to take from the film. No matter what I think about the film, it becomes a little irrelevant. I think I would say that the film is trying to show us that - and I spoke about that earlier - we have to let the teachers invest in their own classroom. There's no use in trying to control everything. Education is fundamental.
The teacher will never be a parent. The parents are the parents. But they have to engage in some sort of active education beyond just teaching mathematics and French and English because the kids spend more time there than they do with their parents at that age. We have to accept that other adults will be part of our children's education and they will have bad teachers. That's going to happen.
Some people around me said "Get a tux and live this and enjoy this" and that's what I did. It was a fun experience. On the red carpet, I was just behind Rooney Mara who I adore, and I had to not act too conspicuously because my girlfriend was there. Behind me, there was Glenn Close. So, it was kind of interesting.
Even if I knew that Separation would probably win, when they announced the film, I was thinking to myself "Oh! I want this! I want this!" And so, when we didn't win, I got depressed for about 20 minutes, and then I snapped out of it and enjoyed the rest of the evening.
The irony is I did an intimate film in France with no stars and that got me to Hollywood. It got me to the Oscars. If I had tried to imitate the Americans or the Hollywood movies with a commercial recipe, I'd never have gotten to Hollywood. Although, it was not my goal in any way, and I never thought there was any connection between Monsieur Lazhar and the Oscars.
I don't like ostentatious galas and stuff like that, but if you get to the Oscars, you'd better get used to it and you'd better enjoy it.
That's grossing money for other people that has a multiplying factor, but the government doesn't see that. It doesn't see that making a film or culture or art is part of our economy. But the main reason is this, it's part of our identity. I think cinema is the memory and the imagination of the country. Take the memory and imagination out of an individual and he's stops being an individual.
I think it's the same thing for a country. We are lucky then that we can get some financing from the government, because it means when I get the money, when I get the grant to do the film, of course it's based on the script, but I have total artistic control and I can do personal stuff.
The notion, the invention of a country, is fairly new in the history of mankind. We tend to forget that. We want to protect our country. The country is something that's fairly new. It's 250 years old, maybe 300 years old, so it's bound to change and evolve also. Migration is part of that.
We have a conservative government that only thinks in terms of efficiency. They are spending a lot of money on military expenses and less and less on culture. My position is that culture can actually be economically viable. When I make a film, the film costs $3 million. Now, in Quebec, it grossed $3.5 million, which is a small film. It's not a comedy. There are no stars in it. And, it still grosses $3.5 million. That's just in Quebec.
If you read Herodotus, the first Greek historian 2,500 years ago, he was talking about that - about people mixing with other people. Sometimes it produces great societies. Sometimes it triggers war. But, we're not going to change that. I don't think so. We're living in nations that are state nations and countries.
Again, something that's very strange and odd, you will find sometimes that immigrants that have been here for many years and already have their citizenship might be the ones against additional immigration. We've seen that also.
Sometimes it's about the economic situation and sometimes it's about the fear of others. Sometimes it's about protecting the generally accepted values. If you look at history, history is just a succession of people meeting other people, either through commerce, voyages or wars.
I will see 100 or 200 and I will take my time with them and I audition them for the two main roles. If I like what I see, but they're not exactly right for the role, I'll think well I have this other role that might work for them. Sometimes I will write a role for them because I want to work with them because they're so good.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: