(Translated from imdb machine translation)
Personally, what I want is for people to actively watch the film. I like to frame movies in a way that makes you feel a little bit uncomfortable, being able to enjoy them, to be drawn in, to start thinking about the meaning of things - and hopefully by the end, you will have a strong desire to keep thinking about them.
It's really hard for me to talk about my films because there's a lot of things that are very intuitive and subconscious, things that other people can read and I don't realize. So sometimes it's better if someone walks in and says, "That's how I understand it." There is no right or wrong. It's just that we put it out into the world and want everyone to experience it differently. I have a reality and I think it's certain things, but the best and greatest thing about the experience of watching a movie - or any other kind of art - is that you can understand yourself and have your own version. We allow people to have that space.
(About the lobster) We start with the most obvious thing, which is that relationships—especially romantic ones—love partners question whether there is love. What do you think? How did you realize it when you discovered it? Build the whole world around these questions. Then, you touch on all the other topics related to how we structure our lives, our world, society, and the rules we follow. What is our relationship to rules and norms? So hopefully it will eventually go beyond couples.
(In killing a sacred title deer) When we started scripting and thinking about the story, we found there were some similarities with Euripides' tragedy Iphigenia in Aulis, and I thought it was interesting dialogue, so Rooted in Western culture. In life, there are always some people who have huge dilemmas, and the concept of sacrifice raises a ton of questions about everything.
(on how he started making films) Growing up in Greece, it wasn't very common for a little boy to say "I'm going to be a filmmaker." At least at that time, there weren't as many filmmakers and industries. So I was interested in film, but I started out with a plan that sounded more feasible - to study film and TV, and then make commercials, which was a job that could really make a living. That's why I went to film school. But, of course, at school I became more and more fond of movies. Although I started doing a lot of commercials very early on - that's where I got my technical experience - I always had a movie on my mind. So, at some point, we started making our own movies -- a few friends asking for help, using friends' houses, clothes, and cars. By doing commercials, investing, and collaborating with friends, we were finally able to make our first film without other support, which is trivial in Greece. That's how we make Kineta, Dogtooth and Alps. (on how he started making films) Growing up in Greece, it wasn't very common for a little boy to say "I'm going to be a filmmaker." At least at that time, there weren't as many filmmakers and industries. So I was interested in film, but I started out with a plan that sounded more feasible - to study film and TV, and then make commercials, which was a job that could really make a living. That's why I went to film school. But, of course, at school I became more and more fond of movies. Although I started doing a lot of commercials very early on - that's where I got my technical experience - I always had a movie on my mind. So, at some point, we started making our own movies -- a few friends asking for help, using friends' houses, clothes, and cars. By doing commercials, investing, and collaborating with friends, we were finally able to make our first film without other support, which is trivial in Greece. That's how we make Kineta, Dogtooth and Alps.
View more about The Lobster reviews
