Quotes About Film

When I made 'Vicky Donor,' people said it's not a family drama, it is for youngsters. But families also went and watched the film. Same happened with 'Piku' and 'October.'

As an actor, you have many tools - your body, your voice, your emotions, mentally. In film, you have your eyes because they communicate your thought process. In fact, generally in film, what you don't say is more important than what you say. That's not so much the case for stage.

You have to contort your body in a certain way to hit a low note. When you're on film, you can't. So you do, in a sense, get to hide behind your voice, which is nice.

Yoga stretches out your body and releases lactic acid. I do it four times a week, and my skin feels fantastic afterwards. When I'm doing a film, I do it every day - I keep a yoga mat in my trailer. Sometimes I do it in front of the TV. The stretching makes me feel so good. It gets my heart going and helps me breathe deeply.

Making a film is like raising a child. You cannot raise a child to be liked by everyone. You raise a child to excel, and you teach the child to be true to his own nature. There will be people who'll dislike your child because he or she is who they are, and there will be people who'll love your child immensely for the very same reason.

At a certain point in one's career, it's really wonderful when your child turns around and goes, 'Oh my God, Mommy, you have to be in that film. My friends are going to die.'

Whenever you take a general meeting, inevitably you run out of things to talk about, they'd always say, 'What's your dream project?' I would always pull out 'Gerald's Game.' If they knew the book, they'd say, 'Well, that's unfilmable.' If they didn't know the book it would take about 30 seconds of my pitch to say, 'That's not a movie.'

On a film crew, you can see very quickly that some people who are working with you are stronger than you. Then you have to have the humility to listen to them. And because very often they have better ideas than yours, it can be tough on the evil ego. But it makes a better film.

As long as a film stays unmade, the book is entirely yours, it belongs to the writer. As soon as you make it into a film, suddenly more people see it than have ever read the book.

It's so disappointing to put in your best, hard work and then find the film flopping at the box office for no fault of yours.

You want to keep it in there because you feel like it's yours but to be able to see that sometimes some stuff needs to go and I think it's for the benefit of the film.

As soon as anybody puts anything on film, it automatically has a point of view, and it's somebody else's point of view, and it's impossible for it to be yours.

The great thing about stage is that you have more control. The stage is yours. The time is yours. Film is really the editor's medium.

I want everything to be an honest extension of me. What better way than me talking? It's a direct connection with everyone. With film and television, you make great projects, but stand-up is the thing that is completely yours.

It's always fun to see faces that are either familiar or resemble yours. I was fascinated by movies like 'Big Trouble in Little China' growing up because there were so many Asian people in it! The same with 'Year of the Dragon' or 'The Last Emperor'. It was just so great to see so many Asian actors working.

That's one of the great things about creativity. You labor away in a room, and when you're writing a film, it couldn't be more of a solitary activity or a lonelier job, but if you then write a film that gets made and goes out into the world, it kind of flies away from you. It's not yours anymore.

But we had a fantastic coach, Simon Clifford, who runs a British football youth game which teaches Brazilian techniques - which is what we wanted to incorporate into the film. And some of those things we eventually got in.

I like being able to see an innocence in people. I see a lot of beauty in youth. Young people are in progress. Their faces and bodies and minds are constantly changing. It's exciting to capture that on film.

I am extremely thrilled that my superhit single 'La la la,' composed by the talented Bilal Saeed, will be a part of the film 'Baazaar.' The song is a hit with the youth, and it always feels nice that the work you do is appreciated globally.

It was in New York, and I've always wanted to film in New York. And the writer was a teenage friend of mine. We did youth theatre together when we were 16 and always had a dream of making a film together. And ten years later, we've done it. So it's great.

I think you are taken more seriously as a young adult when you are on a film set and you are doing a job and people expect something from you. Is that losing my youth? Not at all. I had a fantastic childhood.

Surrounded by a sweltering state known for its staunch conservatism, Austin is an oasis. It's home to the University of Texas, which continuously fosters a well-educated youth culture who have been funneling their collective creative energy into building a vibrant music, film, and technology scene for decades.

It's strange to recall that America animated none of my youthful daydreams. I did not see a Hollywood film until my late teens.

YouTube was always a secret space for me. I'd randomly post videos of me singing with guitar, or sometimes I'd post some half-finished film projects I'd made.