Quotes About Film

But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.

Oh, my father's had a huge, immense impact on my career. I grew up on movie sets that he was working on, and it just become a part or was a part, was the only part of my life because I spent my whole childhood traveling and being on film sets.

Ever since I've left, I've been doing nothing but this film and traveling, promoting and doing festivals. So the good thing is that I'm not sitting around pining over whether I made the right choice in leaving. I'm moving and grooving.

When I was younger, I wanted to own a circus and create this bizarre revue that went from town to town. I suppose, in a way, I got my wish because when you're working on a film, you're in a traveling circus.

I grew up on movie sets and traveling the world with my pops.

'Kaaka Muttai' has gone places. It's a great feeling. There is respect from family and friends. The film has travelled to international festivals, and I was able to meet big directors.

Britain has nurtured me and made me able to make movies that have travelled round the world.

I was only 16 when I was selected for 'Madrasapattinam.' I celebrated my 17th birthday on the set of the film. That was the first time I had travelled to India, and it was a rollercoaster ride. I soon fell in love with the country.

Recording a song for a film doesn't take much time; it's hardly an hour's job, but concerts are constant, and so is travelling, so I've to take time out to work on my albums because I'm passionate about creating my own music. When you love something dearly, you set your priorities accordingly.

We have a documentary film festival in Mexico. It's really original. It's called Ambulante, and it's a film festival that travels around several cities in Mexico.

I've never seen the film 'Gulliver's Travels' - and I'm in it.

I love theatre because of the audience. It feels risky. But I love film because it travels to the whole world. To an audience I don't see.

Hawks is great, 'The Treasure of Sierra Madre,' 'The Big Sleep'... He could do the Salt-of-the-Earth very well. He was a very smooth director; a very good film architect in terms of his storytelling.

I treasure the dark hours in a theatre. But I don't think that, if a film does not reach the theatre, it is, therefore, not a film.

I was fascinated by making a submarine movie, inspired by the Kursk disaster. This idea of being trapped down at the bottom of the sea seemed so terrifying. I was very interested in making a sub film which wasn't a military film. You think, Well, why are they there, then, if they're not in the military? Oh, well, they must be looking for treasure.

Every film is like my own kid; I don't treat them differently.

A film set is really delicate and people treat you very very well if you're an actor because they want you to be as comfortable as possible for you to do your work, but it really is just one in a team of many and usually 150 people.

It's a shame how a lot of actors use theater as a stepping stone to film and television work; I think it shouldn't be treated that way. Maybe it's narcissism or something. I think we should always go back to it. I try and do a play a year, and I think that's really helped me.

On a film set, there are runners who are 19, it's their first job, but to me they're as important as anybody else because if they don't do their job then nobody else can. So I don't think anybody should be treated disrespectfully or as if they're of a lower status.

My father was a certain kind of man - I saw how he treated my mother and his family and how he treated strangers. And I vowed I would never make a film that would not reflect properly on my father's name.

A word on 'Kingdom of Heaven:' if you get the four-disc set, which is 3 hr. 8 min., you'll see why it's such a good movie. It was a real passion project, and it's the film I'm most proud of. I think it was treated incredibly unfairly.

When I was super famous, there was definitely a distinction between how one was treated if they were on TV and how one was treated if they were on film. I don't know that that distinction exists as much now.

David Anspaugh, who was my first director, on 'Rudy,' was all about empowering the actor, making you feel comfortable and appreciated, allowing you to keep your dignity, and treating you like a man. Being treated like a grown-up makes you proud to be involved in a film.

Every love story or Hindi film has the same story, but what makes it different is the treatment it's given. Much depends on how it is stylised, how the characters are moulded, and how the story is treated.