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Atom Egoyan Poster

Biography

Jump to: Overview (3) | Mini Bio (2) | Spouse (1) | Trade Mark (5) | Trivia (12) | Personal Quotes (3)

Overview (3)

Date of Birth 19 July 1960Cairo, Egypt
Birth NameAtom Yeghoyan
Height 5' 7" (1.7 m)

Mini Bio (2)

Born in Egypt to Armenian parents, he was raised in Western Canada. Both his parents were painters, and he planned to be a playwright, but after making a short film, he became hooked on telling stories visually. Returned to ethnic "homeland" when he filmed Calendar (1993) in Armenia. Won attention at the Sundance Film Festival for earlier work, then broke through critically and commercially with Exotica (1994). Afterwards, The Sweet Hereafter (1997) led him to receive two Academy Award nominations, and then Chloe (2009) became his biggest moneymaker ever (after the film's DVD/Blu-ray release).

- IMDb Mini Biography By: mwprods@mindspring.com

Atom Egoyan's parents were painters and he studied International Relations and music at the University of Toronto where he began making short films: Howard in Particular (1979), After Grad with Dad (1980), Peep Show (1981) and Open House (1982).

While he has several distinguished Television and Opera works on his resume and such pictures as his debut Next of Kin (1984) , Berlin and Moscow International Film Festival-winning Family Viewing (1987) and Exotica (1994) -- his most critically acclaimed picture is The Sweet Hereafter (1997) and his biggest commercial success is the erotic thriller Chloe (2009).

Egoyan's Ararat (2002) -- about the 1915 Armenian Genocide perpetrated by Turks in the Turkish Ottoman Empire -- depicted the consequences and suffering of a child survivor Arshile Gorky, who became the pioneer of the American Abstract Expressionism. Ararat (2002) won five honors at Canada's top Genie Awards.

Egoyan has also collected numerous awards at the prestigious Cannes Film Festival and Toronto International Film Festival.

- IMDb Mini Biography By: PARAJANOV.com

Spouse (1)

Arsinée Khanjian (19? - present) (1 child)

Trade Mark (5)

Frequently casts Elias Koteas, Don McKellar, David Hemblen, 'Bruce Greenwood', Maury Chaykin, and Gabrielle Rose
Frequently incorporates televisions and video monitors into his films
Frequently repeats voice-over sequences thoughout the course of a film
Many of his films deal with the complicated nature of human sexuality
Frequently tackles the subject of past wrongs and/or injustice (ex. Ararat (2002), Where the Truth Lies (2005), Exotica (1994), and _The Devil's Knot (2012)_)

Trivia (12)

His wife Arsinée Khanjian appears in almost all his movies, except Chloe (2009).
Parents Joseph and Shushan(nee Devletian) painted, but also ran a furniture store.
Graduated University of Toronto, B.A. International Relations, 1982.
Plays classical guitar
He and his actress wife, Arsinée Khanjian, have a son, Arshile.
(Ottawa, Sept. 23, 1999) Created an Officer of the Order of Canada by Governor-General Roméo Leblanc.
One of his favorite movies is Sergei Parajanov's The Color of Pomegranates (1969), his best friend Mikhail Vartanov's most favorite film.
Member of jury at the Cannes Film Festival in 1996
Head of jury at the Berlin International Film Festival in 2003
Was member of the dramatic jury at the Sundance Film Festival in 1995.
In December 2010, Atom Egoyan said to The Toronto Star (a newspaper in Canada) that Chloe (2009) had made more money than any of his previous films.
Atom is a Canadian citizen of Armenian descent.

Personal Quotes (3)

I think with all directors there are ideas that recur, at least for the ones that have creative control of their films.
This idea of clarity and that people should know at all times what's going on is obviously very attractive from a marketing perspective, but I think it would completely eviscerate the power of what these movies are about... We are still discussing what the opening sequence in Persona might mean and the wealth of possibilities that can be read into this piece of work. I believe that's why it endures.
[on his film "The Captive'] We're sort of inside this eternal present and it becomes a torture machine, where people are playing scenes over and over in their mind.. In terms of the mood, it feels like the world we live in. That's what I'm trying to do with this film - to create an expression of the space that we live in. I understand that it will create a wide variety of criticisms.

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