Quotes About Film

You have to make films you feel strongly about. And then hope you can find the audience.

If you look at the success rate of Punjabi film industry, we stand strongly ahead of Bollywood even.

I strongly believe that besides having good action, action-oriented films need to have a good baseline for the script.

With Nani, what struck me was his confidence. It has been a revelation. Nani, the most confident actor and it is a pleasure to work with him. Will do a film with him anytime given a chance.

They were just kind of simultaneous - the film ending and the sets being destroyed. I was struck the first time I saw the Great Hall become a big pile of burning rubble and getting scattered around. It's really quite shocking for the fans.

Look at 'Dulhe Raja.' It was a film made very quietly on the sidelines, and suddenly, when the film was released, it struck gold. I never expected the film to do well.

My role in Nandita Das' 'Firaaq' as a woman too impotent to intervene when her community resorts to brutality and violence has struck a chord wherever the film has been screened.

Within the structure of 'Scream 4,' there is the film within a film, but that's been part of the 'Scream' franchise since 'Scream 2,' when you had the 'Stab' franchise.

I read a lot of plays as a kid, but I didn't see that many plays, so I feel better-versed in film history and film structure. I just think it's easier to think in pictures.

I hope it's always going to be a mix between theatre, film and radio. I've been very lucky living in London that you can do all that - in New York and L.A., there's more of a structure for film in L.A. and theatre in New York. In London, our industry is smaller, but it produces brilliant work all in one place.

I believe in three-act structure. When I say that to novel people, or people in the world of books, they go, 'Well, that's a film thing.' However, even a good joke has three acts.

It's such a delicate business, the structure of film, isn't it? What happens if a scene is not there but two minutes later? It's an eternal, never-ending search, actually, which is very exciting. It really is.

'Trumbo' is conventional in its structure, mixing interviews with archival footage. What I enjoyed most about the film was its liberal use of his own personal letters to friends and family, performed dramatically by well-known actors.

You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.

Film can't just be a long line of bliss. There's something we all like about the human struggle.

I always look at films as real stories with real people in real situations. That's why I struggle with the whole notion of calling someone the 'good guy' or the 'bad guy', because I think we all have potential to do good things and all have the potential to do bad things.

Coming from a film family didn't help me much and I had to struggle a lot.

You know, I think the film business is its own worst enemy because it sells movies on DVD footage and 'behind the scenes,' and now it's a real struggle trying to keep storylines and plotlines a secret.

'The Piano Lesson' is very sophisticated, easily the most adult or complex material I've attempted. It's the first film I've written that has a proper story, and it was a big struggle for me to write. It meant I had to admit the power of narrative.

Feature film can have a major role in explaining ideas and describing peoples' lives and their struggles.

I'm used to always having struggles getting finances together and keeping precarious budgets alive in the independent film world.

My idea behind the film was to show the struggles an athlete continually endures. There is always a story behind a successful sportsperson. In 'Soorma,' we have tried to recreate that.

The Oscars has its own struggles with the way the Academy is set up.

Each film needs a lot of struggles and a lot of hard work from so many people.