Quotes About Film

A stylist understands our body language; they know what works and what doesn't. I'm happy this concept has caught on in the South film industry.

I make movies in order to make things understood, not to be shocking.

There's a big difference between the independent film world and the Hollywood film world, and I don't know that I understood that until I got into certain rooms, and people's faces go blank when you talk about Sundance.

I didn't really understand what you did when you went in front of the camera. And then suddenly I just understood it. When you're in a play, you carry the story, but you don't have to do that in film.

I took home the pattapatti underwear that I wore in 'Paruthiveeran' for nostalgia's sake.

'Underworld' was my first filmed book. I think there are about seven of my lines in it.

It seemed like my professional life would take a more scientific route. I guess that plan started to become undone when, at the age of 17, I happened upon a screening of Alain Resnais' 'Hiroshima Mon Amour,' and it took my breath away.

Undoubtedly, there are a number of well-developed, mainly female, stars helping Miss Taylor to hold the film industry together: Sophia Loren, Anita Ekberg, etc. But such an insistence on cheesecake smells of bankruptcy.

On the first day of my shoot for 'School Master,' I was feeling a little uneasy because I had to travel a lot. I was feeling a little sleepy too. After the completion of each shot, I would go for a small nap.

David has asked me, a number of people have asked me and said, What performance do you like best or what's the best film you've made and so on and I don't really have any hesitation that the film I'm least embarrassed by and ashamed of or uneasy about is Shadowlands.

On The Others, very atmospheric and probably mysterious is how I would say it felt to be on the set. It felt just a little uneasy, the atmosphere that we were trying to capture.

I like to think of myself as a fairly educated human being, but I'm a very uneducated actor when it comes to movies, directors, producers, actors for that matter.

I love the Coen brothers. They're so brilliant, and they always surprise you in one way or another. 'A Serious Man' was awesome. I like stuff like that, that kind of throws you for a loop. It takes you on a journey that is unexpected.

On a live-action movie, things happen that are unexpected. In animation, you have to fabricate the feeling. That takes a tremendous amount of nuance until the film becomes sentient and gives back.

I think 'Happy Days' was huge and an unexpected high point of my career. I was a newcomer at that time, and I was fortunate to get such a role in the film. 'Paiyya' was another highpoint, as it opened up Kollywood for me.

A film in Bollywood was truly unexpected.

Sometimes, you can also have a big impact in a film just by doing something unexpected.

I have seen 'Sanju,' and it is a well-made commercial film. However, it was left unexplored. I would have directed it with a different approach.

We seek festivals for two reasons - either to create buzz because it is a small film or to find unexplored markets outside India.

I hope people don't compare 2D and 3D because 3D's new, it's unfair to compare to 2D which is really sophisticated, even when we're jaded about it. 3D just began, give it a chance, let the equipment and projection system catch up and be better, let the price go down, let more filmmakers get a hold of it more easily.

The one mistake you must never make is to agree to make a film or sign on to film that you don't believe in. Most importantly because it's unfair on that. It's not about you; it's just not fair on that project because you're doing it a profound disservice because you're not serving it - you're uncommitted, ultimately.

I, Daniel Blake' is a powerful and moving film. But it is a political polemic and is particularly unfair on the public sector professionals who work in Job Centre Plus, in my experience they are proactive and helpful. Completely at odds with their portrayal in the film.

Sometimes there's something very comforting about a film unfolding more or less as you expect it to.

I don't want to feel what I'm creating on film has an outcome that is preordained. I don't think of the world as a place with a divinity that shapes our end. What you try to do with film is create, as far as you possibly can, an unfolding present - a theatre in which an outcome happens and is tested.