Quotes About Film

I still remember very clearly how the director was not convinced with the makeup shot in 'Chaalbaaz.' Eventually when Sridevi saw me struggling, she decided to do the make up herself. What you all saw on screen was actually done by her.

There was a Russian director named Elem Klimov, who did his films during the communist days. They were constantly struggling with the authorities and to be allowed to express themselves. But he did one of the best war movies I've ever seen - it's called 'Come and See.'

I do all these panels where people are always talking about the lack of female directors, and I have a lot of opinions on that.

I was a film major because, for some reason, I thought that that was a creative job that had more job opportunities. I don't know what logic I was following, but that was my impression at the time.

I feel like we need to create more roles that give LGBTQ people the opportunity to be on screen.

I hated 'Avatar' from the jump. And I like James Cameron. I'm not opposed to James Cameron.

I've never been opposed to nudity. I've been opposed to nudity for box-office draw.

Acting in TV as opposed to films is really difficult. What a film gets two months to do, we get eight days to do.

It's not that I'm opposed to doing a big-budget action movie. But it has to be the right project.

After 'The Fellowship of the Ring,' the films that followed it, instead of having their own unique aesthetic, they all wanted to be 'Lord of the Rings' as opposed to learning from 'Lord of the Rings.'

I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.

I challenge the idea that films about rich people are escapism and films about working class people are dour and sad. I find the opposite's the case.

'City of God' and 'Slumdog Millionaire' are both films that I really like, but they are stylistically the opposite of what I wanted to do.

The cutting room is where you discover the optimal length of the movie.

I think when you watch the dailies, the film that you shoot every day, you're very excited by it and very optimistic about how it's going to work.

Well it's always been an element of the horror film to show us the gross out. I mean that's one option for all filmmakers making a horror film and it's not something I've found myself above either.

I wanted to make money very fast, and I was completely confused after college. I didn't know what career options I had. And then I had this entry point in the film industry, and I thought, 'If this is where the fast money is going to come from, let's see how it goes.'

I did some feature work, then tried TV. I was always very aware that the only power that you have is the power of options. If the film industry dries up, then you focus on the TV or the books. For me, it was always about what story do I want to tell next?

My first book, 'When You Were Mine,' got optioned for film and went into preproduction as 'Rosaline.' That was the classic model: Hollywood calls, options book, and that's it. You sign on the dotted line.

I'm not ecstatic about Leander doing films. But, I respect his decision to explore his options, although I feel that he's really doing well in the field of sports!

You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.

My films are very everyday, and people don't always want to go to the cinema to see ordinary lives. They want to see something a bit more extraordinary. I get that desire, but it's not the kind of film I want to make.

I always put myself in the audience's seat, whether it is a film like 'Judwaa 2' or 'Badlapur.' There has to be a message; the core story needs to have a hook, which should be out of the ordinary.

The process of doing a play is an organic one, and the process of doing a film is totally inorganic.