On the morning of November 10, 2016, I got a text message from a friend in Los Angeles: “Hey, there’s a movie festival happening.”
I was excited.
In two days, I’d seen all the films that were in the festival.
But my friend was worried.
She’d seen a few and wanted to know if I was interested in the event.
I replied, “Yeah, sure.
But I want to be able to attend.”
So I signed up for the event and started searching for other people to sign up.
And it quickly became clear that the festival was not about me or the film I wanted to see.
It was about the film industry, the filmmakers, and the film festivals that I loved to see: a festival for filmmakers, filmmakers, directors, editors, directors and producers.
This was a film festival for the makers of film.
The festival was called the Oculus Film Festival.
Oculi is a French word meaning “water,” which was the name of the festival’s sponsor.
The word Oculuus is also translated as “water of the mind,” which is what the festival organizers used to describe it.
The name “Oculus” means “water.”
That’s why it was an oculous name.
It had a strong sense of water.
The idea for the festival started from a group of friends in France who wanted to create a festival to honor the great work of the great directors and filmmakers.
And they wanted it to be a festival that was inclusive.
They knew that many people had a great love for cinema, and they wanted to celebrate all the great filmmakers and directors who have made great films.
The first festival was organized in January 2016.
I went to Paris, and I was there for three days.
I met with the organizers and with a number of people from different film communities to talk about what the event should look like, and what the themes should be.
We had a few ideas.
The main one was to include some of the film communities’ favorite festivals, like the Venice Film Festival, the Cannes Film Festival and the Toronto International Film Festival .
And then there were other ideas that seemed to me like a really good fit.
So I decided to do it.
But before I started, I needed to learn a bit more about the festival, which is kind of why I went into this with a blank slate.
But the more I learned, the more it became clear to me that I was in the wrong place.
This is not a film fest, it’s not a festival of filmmakers.
It’s a festival about making films.
I was looking at this event as an opportunity to do something different.
And the idea was that it would be a kind of a hybrid of a festival, where people would go in to see a film and they would go out and make films.
There were a few festivals that were open to the public, but they were not really festivals.
And that’s what I wanted this to be: a kind or a hybrid.
In my opinion, the most important part of a film is that it is a film.
And I think this is the key to creating a festival.
A film festival is a festival where the film is part of the experience of being in a place.
I don’t want to create this festival where there’s just a bunch of films and there are no people in the movie theater.
A festival has to be about making the film.
So the festival is about bringing together the filmmakers and the directors and the editors and the producers and the people who make the film and the filmmakers themselves.
And in order to do that, I have to have a lot of conversations with the people at the festival and with the filmmakers.
But also with the makers.
So this is not an event about the filmmakers’ films.
This isn’t an event where you go to a cinema and you make a film about a story about the world.
This festival is more about people who are passionate about the making of films.
And what I’m trying to do with this festival is to create the kind of film festival where filmmakers and people who work in film and people in film who are making films feel that they are part of something bigger.
It is a hybrid festival.
There are films that are really great, but I think it’s important to have festivals where people come together and make a great film.
A few years ago, I made a film called The New York Times.
I didn’t think that was a good idea.
And my editor was trying to persuade me that this was a great idea.
I said, “I’m not a filmmaker.”
And he said, “”That’s OK.
I’ll give you a copy of your script.
“I said okay, and then he gave me the script.
And he did some editing and some writing, and he put together a screenplay that he thought was very good.
But it didn’t have