We’ve collected the best Films Quotes from the greatest minds of the world: Hans Matheson, Kendrick Sampson, Ram Gopal Varma, Sushant Singh Rajput, Taika Waititi. Use them as an inspiration.
I think the problem I have with films is that, because there’s so much hype around them, they become bigger than they should be, really. There are things that people do every day in their little workshops that they’ll take to heaven with them. You’ve got to realise that it’s not everything, making films.
I think the older that I’m getting, the more I’m understand what a privileged job I have, and what an opportunity I have. Now I’m directing films and I’m getting my first movie in America off the ground, and you start to understand how the system really works.
My films play only in Bengal, and my audience is the educated middle class in the cities and small towns. They also play in Bombay, Madras and Delhi where there is a Bengali population.
You no more have to come to the city and access a laboratory to make a film. If you have a DSLR and a reasonably powerful laptop, you could be making films anywhere.
I don’t want to just do independent movies and I don’t want to just do adventure films. I enjoy both, and I think both are cogent.
When I look at my films, all I see is everything that went wrong.
Obviously, as an actor, you have to embrace your imagination all the time, but when you’re doing one of these films, you have to embrace your most childlike imagination – a sense of wonder and uninhibited playfulness.
I think India is very passionate about films. It’s almost a second religion back home. Due to that, I think film stars are – are really held in great esteem. Not that we’re complaining, but I think with that comes a lot of responsibility.
If everyone worked with wide-angle lenses, I’d shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.
Independent film is film that has thought in it. There’s no independent thought in studio films. It’s collective thought.
I do films for the common man and identify myself one among them.
I like watching films that have very impelling content, great persuasive language.
Some people had fathers who were bankers or farmers, my father made films, that’s how I saw it. As for the movie stars, they were just around, some of them were friends, others weren’t, it was all just a part of my everyday life.
Like it or not, I am part of the pop culture of films in Hollywood.
I do get offered all kind of films by and large, but the bulk of it I may say is of a certain sensibility.
I’m more critical of the films I make than anyone else.
If you take the ’70s with Blaxploitation pictures, there was a proliferation of black-content films and motion pictures, television, stage plays and so forth at a time when Hollywood was in trouble financially, and it was cheaper to do black films to keep the lights on until they could reestablish themselves.
But actually I make films that I think are extremely sophisticated and cinematic.
Successful films are very dangerous things.
‘Fruitvale’ set the bar for what I wanted to do with my career, which was to make films that had consciousness and messaging in an entertaining package. Once I hit that mark, I never wanted to go back.
Everyone is using the Internet for almost everything – trailers, ads, movies, and short films. This is the only thing that will reach everybody in the world.
I think there’s a connection with ‘Nightcrawler’ and ‘Blowup’ and other films where visual imagery is integral to the story. It allows you to play with images.
When I moved to Bombay, it was very harsh. I was nothing like what I am today. I couldn’t speak a word of English. In England, people might be very understanding about that, but in Bombay, they’re not very forgiving. ‘If you don’t speak English, how do you expect to work in Hindi films?’
I make notes about things I see in films that really affect me, like the ending of ‘Jules and Jim.’ I think about how I can utilize things in my work. And I have a team of people who keep me down to earth.
Everyone has their ‘Showgirls.’ We remember the great films actors have been in, and the rest get forgotten. But occasionally, people like to revisit the ones that get swept aside.
The person that made me want to make movies, and the reason I do films, is Bruce Lee. He was an incredible actor, and he had a lot of charisma. Handsome, action, you know, everything was there. I loved Bruce Lee.
You can tell a lot about a man from his hands. If they don’t have any scars or calluses on them, you might as well assume they cry at romantic comedy films, too.
I guess people feel that if you’re working with good directors and are known in the Hindi film industry, then you won’t work in South films. However, I believe that films have no boundaries of language, religion, or cast. If it’s a good script and a good director, I can do a film in Spanish as well.
I know some black actresses who have to wait every 19 films for a role. I can be cast in practically every one as a young white male.
Yes, films need to make their money back – it’s an expensive business, and people need to be paid for what’s involved – but just because you can, it doesn’t mean you should.
I’ve been spending quite a bit of time writing, acting, and making films. Because I’m doing all this extra writing, acting, and creating short comedy skits with my friends in improv shows, I feel like that’s really filled out my confidence on the mic.
Through these years, I have attempted to create magical moments between my characters because, be it television or films, life is about the moments we create while living through it.
I don’t get jobs in films by auditioning. I’m not blonde. You can’t place me in movies the way you can with certain actors. It’s very difficult for my agents.
Films are always pretentious. There’s nothing more pretentious than a filmmaker.
I grew up loving films and making stupid movies with a good friend of mine, who now actually has a career in a really prominent special effects house, so he’s still doing it. We just started messing around with a camera.
I don’t like any sort of film. I hate films.
Look at Sridevi. She is going to be remembered forever for her films.
I try to make films, not movies. I’ve never liked the expression ‘movie’, but it sounds elitist to say that.
Scoring animated films, I have the exact same approach and philosophy as I do for a live action. It’s all story- and character-driven. I don’t care if it’s a mouse or Tom Cruise.
People have been asking me when I’ll make films with Dhanush and my father. Honestly, I don’t know when.
One of my favorite films is ‘Late Spring‘ by Yasujiro Ozu. To me, it represents film as art.
I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.
I financed and made my own films from the start. My path has been autonomous and independent, so I don’t have any horror stories about glass ceilings and expectations and tense studio meetings.
When I got a call from Hansal Mehta, the CEO of White Feathers, asking me to come for one of their films, I was very happy. I thought they’d have an interesting role for me. But when I got to know they just wanted me to stand in for Sanjay Dutt for some scenes, I decided to give this offer the pass.
I’ve finished 12th standard from Poddar International and enrolled for B.A. in political science in Cambridge University, London. It’s a correspondence course, and I’ll go to London for my exams once a year. That way, I can devote more time to films.
I began to feel that the drama of the truth that is in the moment and in the past is richer and more interesting than the drama of Hollywood movies. So I began looking at documentary films.
I remember watching films in my teenage years, and you’d be in love with Leonardo DiCaprio, and then a song would come on. You’d love that song forever; it changed your life.
I’m not saying that it’s wrong to make huge Hollywood films but it’s just a different kind of feeling, a different sort of pleasure.
To me, ‘Unforgiven’ is one of the best films ever made. Aside from the fact it takes the genre and kicks it between its legs, it’s this fascinating deconstruction of the myth of the West.
With action films, it’s great if it’s not just driven by action, but by a good story and interesting characters, as well. Though, there’s nothin’ like kicking butt!
‘Belko Experiment’ was the harshest, most extreme movie I ever made. But I still think there’s a very cohesive center to it that wasn’t always in my early films. And that isn’t necessarily a bad thing. But I think it’s a commercial thing.
To make films one has to take everything seriously.
I’m part of that generation that grew up watching TV, and being an actor was all about being on TV or being in films.
A lot of films come out before they’re finished.
I am profoundly fascinated by cruelty, fear, horror and death. My films show my preoccupation with violence, the pathology of violence.
I’m very interested in portraying homosexual man and woman in my films because I’m interested in their lives and their problems.
I cannot put pressure on myself that I have delivered a Rs 100 crore film and now I have to give it again or it will not be successful. Films that earn Rs 50 crore or Rs 60 crore are successful, too.
While films are a very visual and emotional artistic medium, video games take it one step further into the realm of a unique personal experience.
My films are the expression of momentary desires. I follow my instincts, but in a disciplined way.
I try to be eclectic in my choice of films. If I’ve done anything that’s intentional in my career, it’s to try to do as many different types of characters and as many different types of genres of movies that I can.
I’m seeing a guy now who has nothing to do with films. It’s so much nicer with somebody who isn’t an actor. Two crazy people in one house would be too much. It’s better there’s one crazy person, and one nice person who looks after that crazy person.
There’s a real kind of snobbery in the U.K. about horror films.
One of the reasons I do like ‘Cult’ is that it plays along the same vibe as the movie ‘Seven,’ which I absolutely love. There was a period of cinema in the mid-’90s that I was a huge fan of, with ‘Heat’ and ‘Seven’ and the Tarantino era. If I’ve ever been fanatical, it was about those films, back in the day.
In feature films the director is God; in documentary films God is the director.
I attribute the black tones in my films to Stephen King, Tim Burton, Joe Hill and Richard Matheson. However, most of my writing is influenced by mental health. I’m incredibly passionate about shedding light on the stigmas associated with mental illnesses.
If my films fail, I will work on something else; my life will not end. And the film is not the end-all of my life.
I was looking to play different characters, and films didn’t offer many choices.
I chose films made by people I wanted to work with, about subject matter I thought was intriguing.
I don’t think films about working class people are sad at all; I think they’re funny and lively and invigorating and warm and generous and full of good things.
In ‘Thor,’ that was my own hair. I grew it out. But I have naturally curly, blonde hair, so I’ll never look like that. By the time I got to ‘The Avengers,’ I had come off two other films, which required me to have it very short. So I dyed it again and it was long enough to use a part of my hairline.
My films are a personal reflection on the impact that the state – the system and the world – has on me.
Lynch is not as strange as his films. He’s a complex guy with a very interesting view of the world. But he’s very accessible, with a good heart.
I want to be remembered for my roles and films rather than my looks.
Most Pixar films are better than most live action films.
I don’t want to make films for myself.
I don’t see anything wrong with my films in 2016, except maybe ‘Kadalai’ and ‘Parandhu Sella Vaa.’ I did do a lot of different roles.
For me, it all started with ‘Phoonk’ around 2008 and then I landed a couple of more films and then came ‘Makkhi.’
Those films that really speak to the primal fear that we, as human beings, have about the unknown have always intrigued me. That’s the really scary thing, not the slasher, macabre movies. It’s the ones that deal with the inner fear: the unknown realms and the mysticisms that are scary.
All of us have our individual curses, something that we are uncomfortable with and something that we have to deal with, like me making horror films, perhaps.
Sandalwood is a force to reckon with. People from all over are investing time and money here because the films have good reach and reap good rewards as well.
Enjoy the films I do, get entertained, get your money’s worth, and when you leave the theatre, leave it all behind!
No doubt, the most important thing in my career was my time with Mr. Bergman, with whom I worked in so many films and also in so many stage productions, so it was a continuous working relationship and also a friendship, of course, that lasted for so many years.
I think there’s escapist moviemaking, and we want to be captivated and taken away. If it’s done right, you can craft an incredible film. There have been superhero films that I think are brilliant pieces of art.
‘Taxi Driver‘ is one of those films that is groundbreaking in how much you’re inside this character’s head. It uses voice-over in a revolutionary way where the audience is invited as a co-conspirator to the whole story line.
My films are personal-voice-driven films about human characters and the place we live. Technically, I’m an independent filmmaker.
I challenge the idea that films about rich people are escapism and films about working class people are dour and sad. I find the opposite‘s the case.
I read and watch movies. I can’t go to the movie theater much anymore, though, because I get recognized. It’s worse sometimes if I wear a costume and try not to get recognized. I watch most of my films on airplanes.
Film has always been a really good tool for me to communicate emotion about why I create a collection. I’m probably one of the first designers to make short films.
I want to keep doing interesting work with interesting people in whatever form that may take, but I want to play the big parts of classical theatre; I want to go on stage and play great Shakespearean roles and, at the same time, do amazing, challenging indie films and comedy, and I want to do it all. I am greedy.
When I was young, I wanted, most of all, to be a writer of films and film music. But Middlesbrough in 1968 wasn’t the place to be if you wanted to do movie scores.
The buried code of many American films has become: If I kill you, I have won and you have lost. The instinctive ethical code of traditional Hollywood, the code by which characters like James Stewart, John Wayne and Henry Fonda lived, has been lost.
Every actor has to make terrible films from time to time, but the trick is never to be terrible in them.
I want all my films to look distinctly different, like some other directors I admire. But in a way, I can’t really take myself completely out of the movies I make.
I tried my hand in action films, and now I am back to love stories, as people like to see me as a lover boy! But as an actor, I want to try all genres.
I think ‘Rockstar’ is more dear to me than any of my other films.
Though I have worked in Bhojpuri films and had been introduced to the culture of the area, it was on visiting that region that I came to know that a lot needs to be done to improve the living conditions, and an initiative has already been made with the help of the Pardesiya Kala Sangam and Jagriti, both NGOs.
As I travel the world, it seems that younger people identify me merely with some of the folklore in the ‘Chuck Norris Facts‘ – those hyperbolic sayings that elevate my abilities beyond my capabilities. Others view me in light of the character I played in ‘Walker, Texas Ranger‘ or in one of my 20 tough-guy films.
I don’t think films about elderly people have been made very much.
Films do have a very big impact on the youth, but the youth do have the quality to differentiate what is right and what is wrong!
I graduated from Second City Los Angeles. It helped me tremendously, not only in my roles in films but in helping shape me into a writer as well. In improv, you will fail sometimes, so it teaches you to be brave and try anything. The worst that can happen is nobody laughs.
After ‘The Empire Strikes Back,’ I got to make big films that I didn’t care about, ‘Never Say Never Again’ and ‘RoboCop 2,’ and then I got too old.
At heart, we believe that the films that work well are the films that do touch people emotionally.
Right now I think censorship is necessary; the things they’re doing and saying in films right now just shouldn’t be allowed. There’s no dignity anymore and I think that’s very important.
Some films shouldn’t be remade.
I used to watch a lot of motivational films and videos to remain positive.
My mom loved the old black-and-white films.
I think that there’s a lot more freedom in the low budget, the independent films where, unfortunately, you don’t have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often.
I don’t intentionally make my films with the express goal of surprising the viewer.
I made a series of wrong decisions about moderately recent books, and I’ve sold the rights to studios for ridiculous amounts of money and the films have never been made. That’s the saddest thing of all, because they’re locked up and no one else can make them.
My beliefs encompass all religions. But I never show my religious inclination in my films. My characters have dark sides; they aren’t the god-fearing characters. It wasn’t a conscious decision. I’m a very lazy and emotional person who connects with the common man.
What you write sets the visual style for the film. But you have to compromise your style in your first few films before people let you do what you want to do.
The strange thing is that since I’ve been offered lots of films I think that maybe they think that I’ve sold out to Hollywood. Which is not the case if anybody‘s listening.
The allegations against Harvey Weinstein are clearly deplorable. No matter how many great films he’s bullied into production, or his guilt-induced contributions to left-minded ideals, this kind of intimidation and abuse of power is perverse and utterly unforgivable. Period.
I probably haven‘t even seen ten of the films I’ve done. I don’t get a joy out of it, and I don’t go to the movies.
I think documentary filmmaking is a braver way to make films because it’s real, and you’re really there.
Sometimes miraculous films come into being, made by people you’ve never heard of, starring unknown faces, blindsiding you with creative genius.
‘Kramer vs. Kramer’ is one of my favorite films, where you have a story that really juxtaposes a lot of ideas that we have about family and about parenting.
I do not think that my life starts and ends with films. I do not use my profession as my identification.
If you’re sitting in your minivan, playing your computer animated films for your children in the back seat, is it the animation that’s entertaining you as you drive and listen? No, it’s the storytelling. That’s why we put so much importance on story. No amount of great animation will save a bad story.
My favorite types of movies definitely aren’t thrillers, but at the same time you can’t deny the genius of Hitchcock‘s films.
The life of King Jeongjo has previously inspired many films and TV dramas. ‘The King’s Wrath‘ will show the tough and charismatic sides of the king that have been undermined in past works.
What bothered me was playing one-dimensional parts in films which were really about, ‘Boy Meets Girl,’ ‘Will Boy Get Girl?’
I never thought I will ever get back into films when I took that break. ‘English Vinglish’ just happened.
Sometimes we make films just for our people, and it doesn’t reach to anyone.
Generally, drama films are made with stars – I broke the rule unknowingly.
I remember breaking the news to both my parents that I wanted to be a director, and they both looked very doubtful. They didn’t know what a closet Hindi film buff I was. I used to dance to old Hindi films songs on the sly, so my decision to be a part of Hindi cinema was shocking even for my parents.
Look, my job is making films.
If people are looking forward to my films, then I am happy, and I must be doing something right.
Fashion designing involves a lot of work, and, as opposed to the general perception, it is different from costume designing for films. While a fashion designer can take up a costume designer’s role, it is not possible vice versa.
I’ve done some films that, on paper, were really interesting and special. And for some reason, when they got on screen, it just didn’t work. Well, I didn’t get to watch the film before I decided to do it.
Our responsibility is not just to make films for music but to make music for films.
I like to make films about people who changed the lives of others and asserted human dignity.
I remember my first scene with Alan Rickman, and I was anxious because he is a slight ‘method‘ actor; as soon as he is in his cloak, he walks and talks like Snape – it is quite terrifying. But I really wanted to talk to him because ‘Robin Hood‘ was one of my favourite films.
I did my graduation in hospitality in Jaipur. When I was working, I started getting offers in modeling and did a few South films.
TV isn’t like films; you can’t rest on your laurels.
During the war, I saw many films that made me fall in love with the cinema.
The sustaining fantasy of Nolan’s Batman films – which does chime uncomfortably with Romney -is that the excesses of finance capital can be curbed by a combination of philanthropy, off-the-books violence and symbolism.
The freshest moments in my films have always been with unknown actors.
I feel like all my films have my politics. As a film-maker, whatever story you’re telling, your value system comes out.
Indigenous people in films, it’s all, like, nose flutes and panpipes and, you know, people talking to ghosts… which I hate.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues – and, as a result, nobody went to see those films.
I was born. When I was 23 I started telling jokes. Then I started going on television and doing films. That’s still what I am doing. The end.
My films are so new and unique that I don’t know where I will end up. Fear keeps me alert. And it’s also a part of an excitement.
Honestly, I feel the films choose me rather than I go after them!
I got a lot of film companies approaching me to write some songs for their films.
You see thousands of films you forget the minute you come out of the cinema, don’t you? Because they don’t mean anything. It’s the tough ones like ‘Breaking the Waves‘ and ‘Nil By Mouth‘ that stay with you, that you never forget. I’d like to leave a few of those behind if possible.
My favorite books, art pieces, films, and music, always have something jarring about them.
I had been working early in my life in films – since I was 11.
I was studying to be an architect, I wasn’t plotting to join the movies. Films were just another career option. I took acting up with the same schoolgirl enthusiasm I had for examinations. Acting is a job and I take it very seriously.
The Taliban‘s acts of cultural vandalism – the most infamous being the destruction of the giant Bamiyan Buddhas – had a devastating effect on Afghan culture and the artistic scene. The Taliban burned countless films, VCRs, music tapes, books, and paintings. They jailed filmmakers, musicians, painters, and sculptors.
I’m not scared of seeing bugs, but I get really scared if they crawl on me. I’m also really bad at watching horror films. During my freshman year of high school, I was watching a horror movie with a guy and I ended up hugging him without realising it.
People keep saying Balachander discovered me. I differ. He invented me. When a stalwart like him suggests that I act in films, who am I to refuse?
Probably around junior high, I became obsessed with films.
Sometimes films ignore other points of view because it’s simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.
I have no plans of doing a series of ‘Raja’ films.
Most horror films are made very cynically, and they’re usually made by studios for an audience that they know is there, no matter what they put out. And there are always exceptions – every year, it seems we have a great one coming out.
None of the films I’ve done was designed for a mass audience, except for ‘Indiana Jones.’ Nobody in their right mind thought ‘American Graffiti’ or ‘Star Wars‘ would work.
I live, therefore I make films. I make film, therefore I live. Life. Movement. I make home movies, therefore I live. I live, therefore I make home movies.
I love my horror films and they will always be very close to me.
There are still things technically about films that I think are a mystery to me and I want to remain a mystery. I don’t particularly want to know what everyone’s job is because I’ve got lines to learn.
I make films from the heart. I want to concentrate on the job of doing great and honest performances, and I’m gonna get better with every performance of mine, with every film of mine.
I was always realistic about the fact I wanted to be involved with big films.
You create a work of art. You do not know whether it will get public sanction. Sometimes outstanding films do no business, and sometimes films which are not so good work.
I’ve acted in Hindi, English, Tamil and Telugu films.
Acting is a learning process. And what you are doing in your early films is essentially picking up the nuances, the tricks of your trade. And somewhere along the line, you become analytical and learn to enjoy what you are doing.
I would love to do a talk show. Naturally, I would love to do more films. I’d love to be able to see casting directors more willing to put in a character who happens to be deaf. I’m not talking about doing deaf storylines, but putting in deaf characters. I’d love to be able to do Broadway.
In my career, many a times I was not able to be part of many films, and there were many reasons for them. But I don’t know why people still talk only about why I didn’t do ‘Bahubali 1’ and ‘2.’
My father Kamran Khan was a successful producer, director and actor in B-grade films.
The effort always remains that my new film outdoes my last in terms of performance and gets better box office success. Box office is the sole reason why I do films.
You have to want to be in the company of those you’re making films about.
Do what you love. I’ve seen so many people through the years calculate and speculate on what films to do in order ‘to make it.’ And every time those projects crash and burn.
I think that short films often contain an originality, a creative freedom, an energy and an invention that is inspiring and entertaining. I think they are, as Shakespeare put it, a good deed in a naughty world.
Only very rarely are foreigners or first-generation immigrants allowed to be nice people in American films. Those with an accent are bad guys.
There’s so much else to do in the world. To just be interested in doing films would limit my life.
If ‘Trek‘ is a hit, we’d love to do a series of films – a regular event. Look at James Bond‘s films. They’ve been around since the early sixties.
Some films change your life a little.
If you really love films, and you really want to get the full impact, there’s a huge difference between watching something on a small screen with a mediocre sound system and watching it on a giant screen in a giant theater with a huge beautiful sound system. I mean, the difference is electric.
I had fame and wealth and things that are supposed to make you happy, but I wasn’t happy, because there’s no importance on having a fulfilling life. So in my mid-40s, that was my pursuit – making films that interested me, films that I would like to go see.
We need less perfect but more free films.
I am going to be an actress. I am going to meet Quentin Tarantino. He will fall in love with me. We will get married. I will be the lead in every single one of his films. He will be like Uma who?
The usual key to getting films made seems to be a producer’s terrier-like determination not to let it go. Unfortunately, such producers often seem prone to sinking their claws into mediocre projects.
When I began making films, they were just movies: ‘What’s the new movie? What are you doing?’ Now they’re called ‘adult dramas.’
I’m an emotional person. I chose films based on emotions.
That was the magical thing about the Seventies: artists ruled. Because films were relatively low-budget, nobody cared. We could just go off and work.
I’m sick of all these knights in shining armor parts, I want to do something worthwhile like plays and films that have something to say.
I don’t make romantic films. I make films about human relationships.
When I was a kid, there was no collaboration; it’s you with a camera bossing your friends around. But as an adult, filmmaking is all about appreciating the talents of the people you surround yourself with and knowing you could never have made any of these films by yourself.
In my films, a lot of the situations come from real life.
When I stopped making films, they were getting on to the more realistic films and the explicit films and all. They were depicting life as it is, and some of it was unpleasant. I gradually moved away from that.
In Bosnia and Herzegovina, a country of few but nonetheless good films, it is almost impossible to produce a film without access to various European initiatives and funds. Creative Europe and its media program are essential for our film industry.
The greatest films ever made in our history were cut on film, and I’m tenaciously hanging on to the process. I just love going into an editing room and smelling the photochemistry and seeing my editor wearing mini-strands of film around his neck.
This is how I feel about horror films: there’s enough scary things that happen in day-to-day life. Sometimes just going and getting the mail is scary, when you open your bills. And so, sometimes I feel like scary movies are just tapping into those anxieties and magnifying them.
Films exhaust me, they do, and I often want nothing more to do with them, but I’m continually surprised at the resurgence of the impulse to come back and do it all over again.
Stars work because of familiarity. They fill theatres because audiences know who they are. There is a brand equity. But there are films strong enough to not need stars, or films that should not be made with stars at all, where only fresh faces will do. So I make the decisions accordingly.
I do feel bad when my films don’t do well, but I respect audiences’ verdict because they know well which films to support. If they don’t like a film, we should accept it.
After I learn more English, I’ll work hard and make more films.
I used to be quite negative about going back to Greece and making something, but there is a certain kind of freedom that I’ve experienced while I was making films in Greece that is hard to replicate elsewhere.
I didn’t fall in love with acting until I did a few films. Now, I couldn’t live without it.
My films are of paramount importance to me, the same as my family. That’s not going to change. This is a balance I have to strike throughout my life.
‘Swept Away’ is one of my favorite films of my father. I’ve seen it about 20 times. It’s a cult movie in Italy.
What’s so great about Sundance is that they only accept such a small handful of films per year for dramatic competition, so you know when you’re going to Sundance that you’re going to see top-quality projects.
After doing modeling and films, I was always keen on doing TV. It was in my to-do-list. So when ‘Kuch Rang Pyar Ke Aise Bhi’ happened, I was more than happy.
I’m always looking for films, but the horror scripts that I get tend to be very repetitive and often not that interesting.
It wasn’t until I was 14 that I finally saw her films. We found an old 16-millimeter projector in the attic, put up a bedsheet – I ironed it myself – and watched reels that were given to her by Paramount.
Theatre is an actor’s medium. An actor has little control over a film. Which is why most actors who have done theatre, and then come to films find the former more creatively satisfying.
We have to support our own films. If we don’t, how can we expect others to support them?
My fans are there because of my work, because of the films that I did. They are my assets.
The frustrating part of it is that you’re generally known for what you did last. I’ve had the privilege of doing some very cool independent films that, a lot of the time, the general public doesn’t see unless you’re at a film festival or you’re into that kind of movie.
I am a citizen of the planet and I want to do films that appeal to people, not communities.
More meaningful cinema is being made, and that is the reason why you see a rejuvenated Malayalam film industry. But more films aimed at youth are needed.
A lot of times black actors get stuck in a box. They’re up against a lot of limitations for the kind of films that they get approached about. It’s easy to get stuck in a box and just be approached about nothing but urban films.
Yes I have made a lot of money and I have a lot of respect, my films have done well, and I know there are loads of loads of people who look up to me and really love me. I really just thought this is like a strange dream. I have never thought this is a success – I don’t have a standard.
I did ‘Vice’ with Christian Bale and ‘Foxcatcher’ with Steve Carell – both of those films had significant prosthetic work. You do need to be cognizant of the fact that the material that you’re photographing is not skin.
I can not watch either of the ‘Paranormal‘ films alone.
From my side, I don’t put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director – that way, I think, I don’t get to do the similar roles.
I came out to Hollywood when I was just 18, and my dad, he was really into Hollywood and theater and art, and I guess growing up, he exposed me to a lot of culture, and I just started making Super-8 films in high school and decided I wanted to be a filmmaker.
Personally, I think the silent films were more effective for L&H, but the sound was of great value in enhancing the effects – dialog eliminated a lot of action & sight gags – I always feel that ‘action’ speaks louder than words.
We’ve evolved from sitting back on our tripods and shooting wildlife films like they have been shot historically, which doesn’t work for us.
My passion is films and making them.
With Vietnam, the Iraq War, so many American films about war are almost always from the American point of view. You almost never have a Middle Eastern character by name with a story.
I wouldn’t be where I am right now, and have the right work ethic and discipline, if it weren’t for all the indie films I did. We weren’t pampered and were pretty much on our own.
I love films for the fact that it is like working under a microscope. It is sort of like a laboratory.
I believe in 3D for certain kinds of films. I certainly believe in using 3D for all things in animation because animation has such clarity and so much depth of focus. It worked great with ‘Avatar‘ because 70 percent of that film is animated.
In Hollywood, more often than not, they’re making more kind of traditional films, stories that are understood by people. And the entire story is understood. And they become worried if even for one small moment something happens that is not understood by everyone.
When someone like me takes a sabbatical, it leads to a few happy realisations. It was only when I was away that I realised how films are such a big part of my life.
My taste in watching things runs from dramas and low-budget films to high-end fantasy/science fiction.
I like to make films, but the only reason I do is because I’m a very bad musician.
I do films that I like. I have done comedy, romance, everything, and I always like to do it differently from the previous ones.
For seven years, I made films in the cinema verite tradition – photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.
I did loads of student films and fringe theatre. I worked for free a lot.
Fame can be very dangerous, because you can start to enjoy that part of it. And that’s not the good part of what I do for a living. The good part is the making of films. The unpleasant part is the fame part, if you’re not careful.
I believe showing various characters is my job and I try to take as many challenges as possible in my dramas and films.
Yes, I was correctly quoted in saying I introduced sex into films in the 20’s, but it was sex in good taste and left a great deal to one’s imagination.
Theatre is where my heart is. It’s where I can do my best work. And even if I do films and TV, that’s what I want to come back to.
This was in ’79. I got pretty restless there, sitting around with a lot of people sitting around smoking cigarettes and talking about films, but nobody really doing anything.
In Tim’s films, more than most, if you miss the tone, you don’t get the film.
If the First Amendment means anything, it means that a state has no business telling a man, sitting alone in his house, what books he may read or what films he may watch.
I had pictured journalism as I’d seen it in the most ennobling films, where the reporter battles for the truth, propelled by conviction, and is triumphant. There are journalists who fit that ideal.
My wish is to bring my heroes to the big screen, and many of them have already appeared in my films.
‘The Sound of Music’ is one of my favourite old musical films.
People want a story – and my horror films have never been about only ghosts and spirits. They have their share of love, hatred, jealousy and complexity of relationships involved.
I have done 16 films with David Dhawan and I have tried to do every character differently, be it Sharafat Ali, Mutthu Swamy or Calender, because of my theatre experience.
On films, you have the liberty of working out the details, the psychology, taking maybe more risks and takes than you can in television just because you can’t be figuring things out on the day.
Friends told me not to bother with the silents – they’re jerky, poorly photographed and ludicrously badly acted. But I was immediately struck by the freshness and vitality of these films.
I wanted to make films, but the films being made in the 1990s were not my kind. I couldn’t break in, and even if I did manage to get a foothold, I didn’t know what I would make.
I have to say I’ve been lucky in that way in that I’ve been able to go from different films and different genres with different challenges.
I must stick with Chinese language films.
I like films and I have been watching films from a young age. So, making films happened to be a natural progression.
My father Arun Ahuja was an actor, and he did films as a hero.
I want to do Hindi films, but a proper one and a good production. I’m even open to multi-starrers because those work better in Bollywood. But it should be with only Bollywood technicians, not the South Indian team. There’s no point to my going to Bollywood if I work with the same artistes and technicians.
All of the characters in my films, they share one commonality. It doesn’t matter whether they are good or bad, it doesn’t matter whether they are smart or stupid, these characters all take responsibility for their own behavior. I’m much the same.
I’ve always found bad films more enjoyable than good ones.
More and more people are seeing the films on computers – lousy sound, lousy picture – and they think they’ve seen the film, but they really haven’t.
The written word can be powerful and beautiful – but films transport us to another place in a way that even the most evocative words never can.
Usually when I take my films to festivals, I feel incredibly anxious about them. I wonder how it will be received, how the audience will react. I feel deeply responsible for them.
Films, fiction, can encompass a whole global vision on a particular subject with any story, whatever it is. You can play the story in whatever country with whatever language in whatever style you want to tell the story in.
I made three films with Boris Karloff. He was absolutely wonderful.
Heath Ledger’s performance in ‘The Dark Knight’ quite simply changed the game. He raised the bar not just for actors in superhero films, but young actors everywhere; for me. His performance was dark, anarchic, dizzying, free, and totally, thrillingly, dangerous.
I’m very emotional and possessive about all my films.
We have always wanted to give back to cinema, and we couldn’t possibly think of a better way to do that than facilitate films which we believe will make Malayalam cinema proud.
We never dealt with satire or suggestive material. Although some of our films were broad parodies or burlesques of popular dramatic themes, there was no conscious attempt at being either sarcastic or offensive.
I’ve been able to make films over the past 10 years but still maintain my anonymity.
If my films don’t show a profit, I know I’m doing something right.
I thought about how I’d play a vampire for awhile because I grew up watching vampire films and reading books.
When people ask me if I went to film school I tell them, ‘no, I went to films.’
Directing films is incredibly exciting to me.
I can watch films and say how technically beautiful they are, but I’m not impressed by any technicality.
I’m not snobby about my movies; I just love all films.
Look at the films of Walt Disney: ‘Snow White‘ came out in February 1938, and I can’t think of another film from that year that’s watched as much. The same is true of ‘Bambi,’ ‘Dumbo’… even, frankly, ‘Toy Story,’ which is probably watched more than any other movie of 1995.
I am a huge fan of Shah Rukh Khan; I have not missed any of his films since I got hooked to ‘Dilwale Dulhania Le Jayenge.’
I haven’t seen ‘Himalay Putra’ since the time it released. I can’t say there is any special reason for not seeing it. But I don’t watch my older films. It doesn’t give me a kick.
The Central Propaganda Department is the highest-ranking censorship agency in China. And it has control over everything from the appointment of newspaper editors to university professors to the way that films are cut and distributed.
Sometimes people get really sniffy about the films you choose if you’ve done more dramatic projects or you’re classically trained.
Anti-capitalism is nothing new in Hollywood. From ‘Wall-E’ to ‘Avatar,’ corporations are routinely depicted as evil. The contradiction of corporate-funded films denouncing corporations is an irony capitalism cannot just absorb, but thrive on. Yet this anti-capitalism is only allowed within limits.
When I was a kid, I wasn’t looking at the small-budget films myself. I was looking at ‘James Bond’ and all the major films, so I still have that energy. I still love those films.
The process of making natural history films is to try to prevent the animal knowing you are there, so you get glimpses of a non-human world, and that is a transporting thing.
A lot of people think I must be weird because of the films I’ve done. I get that.
I took an incredibly roundabout route getting into feature films.
I didn’t take all the films that were offered, just those with dignity.
Since I’m serious about a career in Hindi films, I’d have relocate to Mumbai.
Maybe I should be making more mainstream films if I want to get some money.
Having grown up watching my father direct films and having worked with him and my brother, I know how films are made, how shots are taken.
I make commercial films only. I don’t make small, boring films.
Stanley Kubrick, I had been told, hates interviews. It’s hard to know what to expect of the man if you’ve only seen his films. One senses in those films painstaking craftsmanship, a furious intellect at work, a single-minded devotion.
To paint comic books as childish and illiterate is lazy. A lot of comic books are very literate – unlike most films.
I enjoy films like ‘American Beauty’ and want to do similar films that reflect our culture.
I enjoy turning things on the audience. I really like working in genre because people come into the films with certain expectations. They know the tropes so well that, when you turn on those, it can be shocking because there’s a complacency that comes with watching those films.
My main goal was to be a cinematographer. I was making short films, and the plan was to keep uploading them on Twitter and build a fanbase there. One day, I just started making music for fun. When I made ‘Dat $tick,’ it blew up, and I saw the potential in that.
Everything makes me nervous – except making films.
I prefer the countryside to cities. This is also true of my films: I have made more films in rural societies, and villages, than in towns.
Indians can identify with the Indian sensibilities, and rather than taking something from foreign films, it is always good to make a movie which has been enjoyed by a certain audience or in a certain part of India and make it available to a larger audience.
Graphic novels are all about fantasies. Superman and Batman started it. It’s like a reaction to environment around you. You desire to do things in comic books or films what you can’t do in real life.
People connect with my films because they are honest and simple.
My mother was always in those films where it’s the end of the world and a meteor’s about to hit London; there’s only six people left, and one of them’s in purple underwear. That was always my mother, running from this meteor in purple underwear and spraining her ankle.
I am very emotional, and I get really upset when any of my films flop. I also get hurt over silly things. That is the way I am; I can’t help it.
Learning to make films is very easy. Learning what to make films about is very hard.
I think it’s important to do smaller films because I think that’s where a lot of new things are happening.
I think it’s a mistake for young filmmakers to just buy digital equipment and shoot a feature. Make short films first, make your mistakes and learn from them.
It is not like I want all my films to run for more than 100 days. But I can’t stand it when my movie is criticized.
The nerds are the ones that make the films and do loads of other really cool stuff in their life.
I am writing a book called ‘The History of Australia in Hundred Objects.’ It’s of things we have invented in Australia. And you know, some of them are amazing. We invented the clapper boards used in films. We invented those cranes – those big long cranes used on construction sites.
I am blessed to have worked in big-budget films at an early stage of my career.
The choreography in films is completely different. I find it easier when I am asked to dance to classical music, but it’s a different ball game altogether.
I see a lot of similarity between Bengali and Malayalam films regarding the basic emotions, the craftsmanship, art and performance. I also feel both the industries are very true to their art and culture.
Initially, I didn’t have much knowledge about cinema. But once I started doing good films, precisely after ‘Kaaka Muttai,’ people started respecting me as a performer.
Persistence is half the battle. That’s what I love about independent movies. They don’t have to be made. There’s no studio with an agenda to set up a franchise like ‘Batman’ or to make a vehicle for a celebrity actor. My films are made because I love the process.
Maybe by his second year in Hogwarts, Harry Potter will learn the trick to making a movie this good, but don’t bet on it. The Lord of the Rings: The Fellowship of the Ring is one of the best films of the year.
I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.
My dream is to become a director. I want to direct a Hindi film. I have two scripts ready. One of them is a fantasy-adventure, while the other is a thriller. I’ve assisted my brother Selvaraghavan, who’s a well-known director in Tamil cinema. I’ve also made short films.
I believe in living the character whether it’s in films or television.
I have been told that… time doesn’t flow in a straight line in my films. It goes round in a circle. Sometimes people comment that the films remind them of Ozu. Maybe that’s right. But in Japan, nobody comments on how time passes in my films. So perhaps that is a different way of thinking.
The day I was born, I knew I was going to act! Okay, that can sound a bit exaggerated, but I knew I want to enter films when I started understanding the world of films and saw my father going on sets. Maybe when I was just a kid.
Growing up I always loved films that transport you to another world and has things you never see in every day life.
I just feel if you are an artist, you always have something to prove, if you are in music or in films, you have to prove that you can still do your best.
If you remain open to great directors who look like you, who know what they’re doing and are making impactful films that are destroying these ‘blockbuster films,’ you can do okay, and everybody can get more of a piece of the pie. But you’ve got to be open and brave.
I enjoy wearing a saree more than a mini skirt and maybe that has come off as bad acting in some of my films, because I didn’t fit in there.
I think that films about faith made for faith-based communities have a certain tactic.
It is good if newcomers have a theatre background. It helps in films.
In most films – especially in regards to the protagonist – really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.
I have actually been very fortunate to be able to make films on my own credit card without having huge funders behind me dictating how the story should be told.
Film festivals should also show commercial films along with parallel cinema. This is the only way that it could reach out to more people.
The only movie that I would ever even consider retrofitting is the first ‘Jurassic Park,’ which I think would look pretty spectacular in 3D. That’s the only one of my films that I would consider doing in 3D.
All my films are statements, especially when I write them.
I would love to get into feature films; I’m willing to do an action flick, I’m willing to do a romantic comedy.
I like boring black and white films with subtitles. I’m basically a drip.
Even in Haiti, I saw John Wayne movies. American cinema has always been the dominant cinema throughout the world, and people tend to forget that. People aren’t just seeing these films in California or Florida. They’re seeing them in Haiti, in Congo, in France, in Italy and in Asia. That is the power of Hollywood.
I’ve wanted to follow my dad into acting for as long as I can remember. ‘I’ve had a very serious round of dramatic training, and I like action films that take their characters seriously, so I figure I’m making it the best of both worlds if I try to bring some serious acting to a shoot-’em-up picture.
I am very romantic. Given a choice, I’d do only romantic films!
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
My films are always concerned with family, friendship, honor, and patriotism.
In all the horror films that I have done, all of those women were strong women. I don’t feel I ever played the victim, although I was always in jeopardy.
I’m drawn to stories about ordinary people who get tangled up in an extraordinary event or idea or emotion. I’m not saying I don’t love films about super-people or super-doctors, but my preference is for stories about how we get through this life, what it is to be human, because I’m always struggling with it myself.
I think it is very important that films make people look at what they’ve forgotten.
Some of the greatest films and television have only been seen by the people that make them. And some of the greatest music is only heard by the people who make it.
I guess because I pay so much attention to the physical part of the character, I don’t look upon it as like Charlize Theron up there. I don’t think of them as like Charlize Theron films.
All my cop/gangster dramas have been spaced out, but somewhere, the films in which I played the bad guy were extremely successful, so people are under the impression that I play only such roles. I call it selective amnesia.
The truth is often terrifying, which I think is one of the motifs of Larry and Andrew‘s cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo’s choice to know the truth. It’s a beautiful, beautiful story.
The films you do are not just for the audience. As an actor, you are putting your heart and soul into them.
I was called the ‘Ugly Duckling’ of Hindi films because of my dark complexion and south Indian features.
Money is not a driving force for me when it comes to my passion: that is, dramas and films.
The problem with independent films is that they can be hit or miss. I’ve seen scripts that have blown me away. But there have to be all the right ingredients in place to make them work: the director, cast, publicity, distribution.
I can’t be part of what is being done in films these days and hence I don’t do films anymore.
I’m a big believer in cinema, you know – what it used to be? Images and sound, and working it out a bit. I find it exciting watching films where I just go into an impressive world.
I’m going to keep making films I believe in. Whether I am successful or not is besides the point.
Because of the way tech is changing, and becoming cheaper and user-friendly, it’s becoming easier to make films cheaply, maintaining quality.
It is a humbling experience to work with Duttsaab and Amitji, who was my dad’s costar in so many films.
What is attempted in these film is of course a synthesis. But it can be seen by someone who has his feet in both cultures. Someone who will bring to bear on the films involvement and detachment in equal measure.
I’ve made some films for the military that are teaching things like cultural awareness and leadership issues, that sort of stuff. And try to, in essence, look at what training they’re doing and say, ‘This is how you can improve the training from a humanistic point of view.’
‘Bond’ was like Christmas: can’t wait for it to come around. Being in the films brought me to a global audience, and I have had the opportunity to meet incredible people.
We were for Mao, but when we saw the films he was making, they were bad. So we understood that there was necessarily something wrong with what he was saying.
Films are always a fiction, not documentary. Even a documentary is a kind of fiction.
I like old Disney films that have an edge to them.
I was not confident about my hair before films happened. But today, my hair is something people like the most in me.
Of all the options I had got, I think whatever films I have chosen to do are best.
I want my films to do the talking. I feel if people have to understand me better, I should do more good films. I just want them to know me through my films.
Let me be very frank. I make films keeping within the mainstream and my cinema is popular cinema. I love it this way.
I have stopped expecting from films. What I expect never happens.
I don’t want to do films where I’m just there with nothing much to do.
I really want to complete films in a shorter duration, but somehow it does not seem to happen.
A l lot of films I’ve done are essentially about women who are finding their voice, women who don’t know themselves well.
People often ask me why I don’t take up more heroine-oriented roles. My question is, ‘Where are these roles?’ I really appreciate actresses who sign only films with meaty roles. However, there aren’t too many of them. The industry is simply male-dominated.
I don’t accept films just because they have star heroes in lead. I rejected a few big films because I didn’t like the story.
I’m just trying to up my films – how every film should be better than the previous one. That’s what I struggle for.
Women no longer look at relationships conventionally, and neither should films.
I still, by and large, make low-budget Australian films.
I looked back on the roaring Twenties – with its jazz, ‘Great Gatsby,’ and the pre-Code films – as a party I had somehow managed to miss. After World War Two, I expected something similar, a return to the period after the first war, but when the skirt lengths went down instead of up, I knew we were in big trouble.
I think that most films have too much music in them; it overwhelms an audience.
When we started on ‘Coraline,’ there was a whole host of things that we had no idea how we were going to do. Because we were making films in a way that had never really been done before, we were taking this hundred-year-old art form and bringing it into a new era by embracing technology and innovation.
I don’t make films for other people; I make films for me.
You should bear in mind that almost all my documentaries are feature films in disguise.
There are only 24 hours in a day, and my top priority is working on my films, but I love short film experiments.
My films do have a big following among young girls, and I want to instill confidence in them, a sense of self-appreciation – to make them feel they can be spirited and say what they feel.
Most of my films seem to be about people bewildered by the world around them, who don’t fit into it and are trying to understand it.
I eventually want to do writing on all the films, but not necessarily to be the writer. Writing is a painful, painful thing; it really is.
The Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.
Different people in different parts of the world can be thinking the same thoughts at the same time. It’s an obsession of mine: that different people in different places are thinking the same thing but for different reasons. I try to make films which connect people.
I’m so sick of independent films being co-opted by Hollywood. You’re making a project that’s small, really personal, and the first thing anyone asks in any meeting is, ‘Who’s in it?’ I’m like, ‘Are you kidding?’
I’m glad I’m getting to do interesting films.
Films were always a passion for me but it was when I saw ‘Salaam Bombay’ that I decided that it was film direction that I was interested in. That is when I decided I wanted to direct films.
‘Once Upon A Time In America’ is one of the cleverest films of all time, because you can get out of it whatever you want to get out of it.
The only fear I have is that I will wake up one day and nobody will allow me to do films. This is a fear every actor has.
I was not getting work, even after auditioning for films. So I started working in a studio as a photographer; I assisted a cinematographer for two ads. I was thinking that I will get into photography or cinematography or assist someone. But then the ‘Dangal’ offer came, and I was busy with the auditions.
I have a lot of incomplete short films and incomplete scripts out there.
If I’m going to do a big film, I’m very choosy about what I do, because I think I want to continue – in fact I’m sure I want to continue – to stay in the realm of independent films with directors and writers who are just emerging with new ideas and a different vision that hasn’t really been expressed yet.
These actors who were in ‘Dope‘ are the actors I want to continue to collaborate and make films with from here on out.
The films by Mamoru Hosoda or Hayao Miyazaki show things that can’t be expressed by people. When I watch people acting, I end up analysing too much and it breaks the mood.
Luck, I never looked to make difficult movies on purpose. You make the films you can make.
Life is very, very complicated, and so films should be allowed to be, too.
I just won’t sing and dance in a film. But when you have a chance to star in an Abbas-Mustan film, why will anyone let it go? I have been lucky to do films which have been different from each other.
Authors of books are not given very much control over the films that are made from their books.
Some independent Indian films do so well at these festivals in Europe and in the United States that when they come back, India just cannot ignore them.
I think the films we see, the Hollywood films, which are basically entertainment, will still be there, but they’ll be in a totally different category. People won’t take them seriously. They’ll kind of end up the way comic books have. A side view of things.