Yangqiao Lu (YL): I want to start with some basic questions, and then I’m going to open it up to the audience. You started with a background in criticism and writing, and you sort of fall into this tradition of some critics and academics becoming filmmakers. And there’s a strong tradition in the history of cinema, like the New Wave and still today there are a lot of critics are using filmmaking as a creative outlet for their thinking. So I’m wondering if you can talk a little bit about that transition from cutting film into pieces to putting together, from criticizing something to this creative process. How did you become a filmmaker?
Kogonada (K): OK. And also, just thank you guys for being here on a Sunday afternoon, and thank you for the Brattle Theatre. This is an incredible theatre. I think filmmakers that I know who’ve never practiced film criticism, the way they talk about films is a kind of film criticism. So some of us have had an opportunity, and I had an opportunity to make a living deconstructing films for a while. I don’t think I’m original. I think it’s a part of the conversation of cinema if you love the medium, as I do, and you are thinking through all those decisions and the choices the filmmakers that have meant something to you have made. So I had an opportunity to actually do a form of visual criticism, which was really great training to make films because I actually got to do the sort of deconstruction, and reconstructed through editing, but it was always with this dream or aspiration to make something larger, to make a feature. There was a programmer who’s not there any more at Tribeca who had reached out to me and asked if I was ever going to make a feature that they would be really interested, and that was a real moment for me to say if I ever want to make a feature, I should start doing that.