The Great God Brown. The Hairy Ape. The Iceman Cometh. Lazarus Laughed. Long Day's Journey Into Night.

Build a strong foundation of knowledge.so you don't have to listen to what others tell you. Watching, you would never guess it's the work of a 29-year-old filmmaker who's made only one other feature. Download lagu impossible shontelle instrumental. Its carefully measured, nuanced frames easily evoke comparisons to Wong Kar Wai and feel more like the meditations of a man who's lived an entire lifetime of haunting experience. But that's just the type of filmmaker Bi Gan has always wanted to be.

From the very beginning, he knew what kind of films he wanted to make, and in sticking to his guns (even throughout varying degrees of success), this vision has allowed him to create the type of work that had critics raving at Cannes, TIFF, and most recently, the New York Film Festival. Director Bi never went to film school, instead, he carefully studied the work of others and created a community of his own. 'If you have a strong enough and solid enough foundation, you don't need other people's suggestions.'

Long Day's Journey into Night benefits from a combination of the hypnotic inspirations of Bi's past and the technological innovations present to him in youth. It's a Mandarin language noir about a man who travels back to his hometown to find a long lost love of his past. As he recalls the summer he spent with her 20 years ago, the audience is forced to piece together abrupt changes in time as well as if what they're seeing is a dream or reality. What most people will be talking about after seeing the film, however, is its absolutely jaw-dropping hour and a half long one take which hits midway through its story. As the title card finally appears, the audience is prompted to put on a pair of 3D glasses and follow the film's protagonist into a whole new world. I sat down with Bi Gan to discuss what it is about his style that has made him so successful at such a young age, teaching yourself how to make films by watching the work of others, and why it's important to always keep your vision in check.

No Film School: You're 29-years-old. For most American filmmakers, reaching the type of success that you've reached at such a young age, is rarely heard of. Could you take us through how you were able to make your first feature, Kaili Blues?

Bi Gan: Before that, I want to say that I'm just like everybody else. I think that most filmmakers start their first film maybe around 28 or 29, before they reach 30.

So I do see myself as a filmmaker just like anybody else. In terms of the first film,, I didn't really have any ambitions or motivations to make it. I wasn't thinking about any film festivals, institutions, companies, or organizations that I was going to make the film for.

I basically just found money and investment from my friends, my professors, and my teachers. Then when I had enough money, I really just wanted to put it to good use and make my first film. So in a way, it was very physiological. It's almost like a need that I needed to fulfill because I wanted to make it happen at this age. NFS: You didn't go to film school. How did you learn to make films?

What was your learning process like? Blank pervichnogo osmotra gastroenterologa. Bi: I didn't go to the academies per se, but I did take classes. There’s almost like this community college type of arrangement in China. During this particular period in time, I had access to a lot of films, by going to the library and to the archive. I also had opportunities to listen to filmmakers come into this particular school to talk about films and how they make films and just film-related workshops and seminars.