Quotes About Film

I started my journey in Bollywood with a Rajkumar Santoshi film. Then I worked with noted directors like J P Dutta, Prakash Jha and Ketan Mehta.

David and I got cut out the editing process on that. We were able to affect it more than not. We sent in our notes, we were able to see cuts. We weren't allowed to see dailies and we weren't allowed to sit in the editing room and just work.

If the film is a hit, people talk about the hard work, but if it fails, they may not notice, but I give my best for all films.

To get noticed, I had to take my films in a space which was much more democratic in terms of cinema - the international film festivals.

You never see a teaser for a film on television that doesn't have someone running around a corner with a gun. Have you noticed that?... I think Hollywood has as much responsibility for gun violence as the National Rifle Association.

The commercial success that came with Anjali Menon's 'Bangalore Days' helped me in getting my work noticed.

What I noticed is that the lens from which people want to look at 'Minari' is just from that Asian-American angle. And I think that can end up being very frustrating. Because the craft of the film, and this film itself, is meant to embody a lot of different things.

I've noticed that Hindi films do well in the north, but they don't do that well in the south. But, I want everything! I want the north and the south.

I feel you need a big film to be seen but then, you also need to do something where you get to perform. Only then the industry notices you and gives you more chances with different kind of roles.

In a film, there are too many characters. If the film is not a hit, then nobody really notices your work.

I think I've always been drawn to the notion of talk as cinematic.

The contemporary notion that it's somehow inherently bad for a film to be 'talky' has done grave damage to the culture of American movie-making, enough so that a growing number of people, myself among them, have all but given up on Hollywood.

I know that it's axiomatic in the film industry that you're not supposed to let the novelist develop their own story. Well, first of all, that's kind of up to the novelist - because they don't have to sell it. But also, I don't believe it. It's about trust.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I consider myself a novice film actor.

I think I'm an actor. You can hire me. I can do a good job. But you also have to get lucky now and then. Every film-maker knows how hard it is to do a good film. You have to just make many, and see how lucky you get.

Having had that experience... I think, what modern culture wants to see is the relationship with the woman. I don't think you can tell a story on film nowadays where the woman simply is there for the man when he decides to settle down.

If you're on a film set for 48 weeks of the year, you're nowhere near reality. You can't emote like a human being.

The idea of Jonathan Rhys Meyers as Dracula, all I could think of was, why haven't they done this with him before? It's such a genius idea. 'Dracula' has always been done as film, so it's been an hour and 40 minutes. What we're done is 10 hours of 'Dracula,' so you have a lot of freedom with all the different mythologies and nuances.

If Hello' had been my debut film, the numbers would have played out differently.

You know, I once did a short film with Kay Cannon. It was set at a gynecologist's office and I was her nurse in hospital scrubs.

I thought I'd never do film, let alone television. I was a diehard theater nut.

There are so many rules about how you make a film and so many conventions that you can and can't do. I think people have forgotten that they are just rules that were invented for convenience - sometimes it is more convenient not to obey the rules.

I seriously object to seeing on the screen what belongs in the bedroom.