Atom Egoyan and Eric Nazarian Discuss Filmmaking, Authenticity, and the Psychology Behind Violence

      Oscar-nominated director Atom Egoyan and writer-director Eric Nazarian had an inspiring discussion just before the theatrical launch of Nazarian’s latest film, Die Like a Man, which had a theatrical run in Los Angeles last month before transitioning to digital release.

      Egoyan is an Armenian-Canadian filmmaker and a prominent figure of the Toronto New Wave, who rose to fame in the ’80s with the breakthrough film Exotica. He followed it up with the critically acclaimed The Sweet Hereafter, earning Academy Award nominations for both Best Director and Best Adapted Screenplay.

      Nazarian is an alumnus of USC’s School of Cinematic Arts and won the Nicholl Fellowship in Screenwriting from the Academy of Motion Picture Arts & Sciences for his script Giants. His debut feature as a writer-director, The Blue Hour, premiered at the San Sebastián International Film Festival and the Torino Film Festival, garnering several accolades. He also co-wrote Jon Avnet’s Three Christs, featuring Richard Gere, Peter Dinklage, and Julianna Margulies.

      Die Like a Man, featuring Miguel Angel Garcia, Mariel Molino, and Cory Hardrict, is a coming-of-age narrative delving into themes of loyalty, identity, and survival in Los Angeles. The film is currently available digitally across the nation, following a week-long theatrical run at L.A.'s Million Dollar Theater.

      Below is a segment of their conversation.

      Eric Nazarian: You mean the world to me, as my older brother and mentor over many years. It’s significant for us to talk about you, our connection, and the film.

      Atom Egoyan: Should we jump right in? Eric, I’ll never forget when you reached out after the final day of filming and shared how much shooting this film meant to you, and the overall process. I felt so touched, as you embodied the essence of independent filmmaking in this journey you undertook. I understand it was challenging, yet it emerged as such a gratifying piece of work, filled with your soul and spirit. You’ve been able to capture the essence of these remarkable actors, showcasing both tension and compassion. This arises from a deep commitment to not only your community but also to what independent film represents. I’d love to know: what gave you the courage to embark on this project? How did you connect with these individuals, and what is your personal history with this community?

      Nazarian: You’ve been a crucial influence, helping me navigate my path as a filmmaker, emphasizing the importance of making films that truly matter. This film was born from a time in my life when I was attempting to comprehend the evolution of Los Angeles, the city I once knew, which seemed absent in the films being made after my graduation from USC Film School. I reflect on the Italian Neo-Realists and the Nouvelle Vague. Growing up with my late father Haik, a devoted cinephile and a huge fan of yours, I was inspired by artists who used their cameras to shape their worlds. I saw so much Neorealism in L.A. that was never depicted on screen.

      There was always this necessity, like what Pasolini did with Accattone and what Rossellini achieved with Rome, Open City, and what filmmakers like Cuarón, Iñárritu, and Del Toro were accomplishing. This cinematic culture shaped my upbringing, especially your work that blended Armenian narratives within the Canadian context. There wasn’t a genuine L.A. cinema movement, which I longed for, particularly when I compared it to what New York filmmakers were doing. I felt a connection to New York through inspirations like Spike Lee and Martin Scorsese.

      The authentic L.A. was overlooked in the films being made; filmmakers flocked to L.A. to create stories about everything else. In many ways, I believed this subject needed exploration—the harrowing narrative of boys striving to become men through violence was especially pronounced during the ’80s and ’90s when I was a teenager. I witnessed the impact of machismo on the Mexican, Black, Asian, and Armenian communities, and it affected many friends caught up in violence and drugs. My father’s passion for cinema and how films served as a wellspring of inspiration fueled my desire to tell these stories that felt neglected.

      When I created The Blue Hour, it was the first art house film without dialogue centered on the L.A. River. We traveled around the world, capturing a kind of pastel Neorealism that I wished to convey, not through a gang film, but by exploring why society expects boys to engage in violence to affirm their masculinity—be it military, NFL, or politics, this is a recurring theme.

      Creating this film organically was challenging. Though many appreciated the script, securing financing proved difficult, as is often the case with independent films. It took 14 years to bring this project to life, and ensuring it was made without compromise was my greatest challenge