Quotes About Film

I am very keen to do a film that's female-led.

I was really keen on making a film on Balraj Sahni. But when I approached his son Parikshat for his consent, he told me he had already given the filming rights on his father's life to another producer.

For a film, when you condense, you don't want to keep going back to the same setting over and over.

There are so many films I lean on and look toward and return to that give me some guidance on how to keep moving in the world, and that's what film does, at its best.

A filmmaker chooses an actress keeping the best interest of the film in mind. If he doesn't cast you, it doesn't mean there's a personal agenda. Change is constant, and if you have agreed to be part of this industry, you will have to go with the change. The films and filmmakers, even the audience has changed.

'Baby Boy' is one of my favourite films, and Tyrese keeps telling everybody we're going to make a sequel. I mean, we have a story right now but we don't know where we're going to take it.

The things that inspire people to think are what keeps a film alive.

It depends who the director is you know, I mean Ken Loach for instance. I've done up to 32 takes with him.

It's hard not to want to become Ken Burns at times. I'm interested in being a Ken Burns who reaches that 17-year-old who goes to the multiplex just to see a good story well-told. And if there's history in it, all the better.

Kenya doesn't have much of an infrastructure for hosting a film.

When I was younger, I was almost too afraid to admit that I wanted to be an actor. I didn't know any successful actors in Kenya, so I felt like I could get away with going to college to study film more easily than I could with saying, 'I want to be an actor.' That's what I did.

I didn't know any successful actors in Kenya, so I felt like I could get away with going to college to study film more easily than I could with saying, 'I want to be an actor.' That's what I did.

I have always kept a pretty healthy separation between my work in my film and my life outside of it.

I did a film called 'Puccini for Beginners,' which was a romantic comedy, and I always wanted to do more, but I kept doing drama.

We Need To Talk About Kevin,' as an adaptation, was pretty major. It's a long book, and it's in letters, so it was a real editing experience to boil that down and make it cinematic. I learned a lot doing that film.

It is a conscious choice to go for content-driven scripts because that is the key for any film to work. There are no two ways about it, and I have always been attracted to great content.

I think the kick to doing comedy is just to get in a film with really funny people and let them do their jobs. I find that in most comedies, I'm not the funny one, which works out great.

I think there were some dubious feelings about it, that the first 'Scarface' would not be surpassed by the second 'Scarface.' We were wrong; it surpassed it. The acting talent, the cinematography - we were propelled into a real class action film. Long after I kick the bucket, it'll be played.

Getting a chance to work with Vidya Balan as her daughter is quite cool. 'Shakuntala Devi' is a biopic and I'm quite kicked about it.

One of the great kicks of having a movie made is that you envision this world.

There was a time when I thought Kim Novak was the sexiest woman in the world.

Doing something like 'Bushwick,' a lot of people need to agree that the piece is working with what's going on on the screen. So it's a lot of tweaks and re-works, just kinda moving pieces around and getting things to hit right.

It's been about 15 years, and I've never really worked seriously in CGI and I thought that here was an opportunity to do the kinds of things that I was not able to do on Ghostbusters.

There are only two kinds of roles that work in Bollywood, the sexy and the glamorous kind.