“(In America) Everyone says, ‘I’m busy,’ and there’s no real time for socialization. But I don’t know if it’s a problem for Americans. I don’t know if they do it ’cause they don’t wanna socialize or they really just don’t have the time.”

How would you describe your approach to filmmaking?

I try to make some experiments with my camera. I always come up with questions. I ask myself: can I write a good script? I see all the questions as gaps. And the answers are trying to fill those gaps. Whether it be about sound, lighting, technical or thematic.

Does being bisexual influence your work in any way? How so?

It affects it much because I still problematize it. It’s not easy in my own social life and neighborhood. It’s not an idea I welcomed so easy. It took time to overcome insults. Being quote-unquote abnormal isn’t easy. When I start to do something, writing or filming, inevitably I find myself talking about the issue and trying to understand it. What is being gay? What is being straight? Normal is being defined by others, so you have to change the norms.

What would you like an American like me — unknowledgeable about Turkey — to know about Turkey?

Generally people have an image in their mind. The only image people have is that it’s part of the Iran-Iraq mentality. Really it’s a melting pot of cultures, European cultures, Middle Eastern, Jewish people and others. Something that may surprise people is that Greece and Turkey are very similar in terms of architecture.

What do you think of America?

This is my first time. In Europe you do not see that capitalism is so apparent. In America it is because it’s a society based on consumption. Also, everyone says, “I’m busy,” and there’s no real time for socialization. For me it’s a great problem to have. But I don’t know if it’s a problem for Americans. I don’t know if they do it ’cause they don’t want to socialize or they really just don’t have the time. In Europe you’re in your own rhythm of your life. You have time for socializing — you don’t fabricate it. Here people say, “I’m going to socialize with you at this time period.” In Europe people take pleasure in the natural socialization.

How do you feel about the Hollywood mentality of movies for profit more so than art?

There are two markets. One’s for art house movies — movies people go and see at festivals. Or like here at the Downer Theater that’s screening art house movies. Then there’s the popcorn movies. I can’t say Hollywood is bad or good because it’s a market and the two markets feed each other. Big movies can still add something — like digital arts. Or a director could be shown at Sundance and then end up making a Hollywood movie next. The existence of Hollywood makes Sundance go on. You can make your movie if you have an audience. If you’re a child, you’ve only got Hollywood movies. So it’s up to your education as well. Think about how you said when you were 18 experimental films meant nothing. But now, because of your education, you can understand them better. Independent ones can find their own space for themselves.

Is this strictly an American phenomenon?

In Istanbul it’s not easy to produce your movie when you send your script to producers. Generally, the directors produce their own movies via the foundation of the government, Euroimages, a government program that funds independent films. They want to tell their own story by governmental funding. It’s more or less the same thing going on in Europe.

What are your impressions of UWM’s film department?

Professors have taken time to share their time with me. I like how the program allows you to focus on the film production, and other specific sections of filmmaking. The 24-hour access to cameras and other items is good. (The film department goes) on practice rather than lecturing, which helps people produce the kind of movie that they want.

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