'Remake' Director Ross McElwee

That's the universe.

I think the

whole notion, you know, I'm frequently asked to do question and answer sessions after a screening of my film.

And I've always enjoyed doing that, the back and forth between myself and the audience.

And one of the reasons why I like to see films projected into a dark space with a lot of people not knowing one another, and I like talking to them, Afterwards, and doing Q&As.

With Remake, you know, they're nothing but questions.

There are no answers.

And actually, I told the distributor of the film after a certain point, I don't think I can do Q&As anymore.

And I've really not.

I've sort of backed off trying to do those because I always find myself, first of all, well, not to try to flatter you, but you guys are really on top of things.

the film and how to talk about it in a way that is not always true, even from moderators who end up helping me on stage is just very different.

It's the kind of ease that I have talking to you that I don't always have talking to audiences.

And I think Maybe that's to be expected.

Maybe it's always easier to talk to people one-on-one or two-on-one, and that there's something about a crowd that just makes it more complicated.

I don't know what it is, but I'm not doing Q&As anymore with my film.

I'm happy to introduce it, thank people for coming, thank them for coming to the little cinema that's showing it, and I hope that they'll continue to support it, but I don't do UNI sessions.

That's understandable.

Yeah, because I

think there are no answers.

I think the film has much to say about memory, the purpose of memory, how memory...

I think in the opinion of Charlene, who you were just referencing, the poetry teacher, can...

It can be a way of not remembering paradoxically.

I think of memory as a compression.

It's a compression of reality.

Raw experience is what we are.

That's the universe.

I think the

whole notion, you know, I'm frequently asked to do question and answer sessions after a screening of my film.

And I've always enjoyed doing that, the back and forth between myself and the audience.

And one of the reasons why I like to see films projected into a dark space with a lot of people not knowing one another, and I like talking to them, Afterwards, and doing Q&As.

With Remake, you know, they're nothing but questions.

There are no answers.

And actually, I told the distributor of the film after a certain point, I don't think I can do Q&As anymore.

And I've really not.

I've sort of backed off trying to do those because I always find myself, first of all, well, not to try to flatter you, but you guys are really on top of things.

the film and how to talk about it in a way that is not always true, even from moderators who end up helping me on stage is just very different.

It's the kind of ease that I have talking to you that I don't always have talking to audiences.

And I think Maybe that's to be expected.

Maybe it's always easier to talk to people one-on-one or two-on-one, and that there's something about a crowd that just makes it more complicated.

I don't know what it is, but I'm not doing Q&As anymore with my film.

I'm happy to introduce it, thank people for coming, thank them for coming to the little cinema that's showing it, and I hope that they'll continue to support it, but I don't do UNI sessions.

That's understandable.

Yeah, because I

think there are no answers.

I think the film has much to say about memory, the purpose of memory, how memory...

I think in the opinion of Charlene, who you were just referencing, the poetry teacher, can...

It can be a way of not remembering paradoxically.

I think of memory as a compression.

It's a compression of reality.

Raw experience is what we are.