Quotes About Films

I'm really pleased to share the 'Station to Station' film. It has a very unorthodox structure; it's made up of separate one-minute films. So you watch this piece that is like time moving. Everything is democratised, whether it's a minute of Patti Smith or a single landscape with a drone, it's this amazing modern kaleidoscope.

I have acted in over 50 films and 15 daily soaps, but the thrill I feel while performing for my home audience is unparalleled.

When I stopped making films, they were getting on to the more realistic films and the explicit films and all. They were depicting life as it is, and some of it was unpleasant. I gradually moved away from that.

I had always studied French and was obsessed with French films. I hated the way American films always had happy endings. I liked the way French films had dark and unpleasant characters; it was much more realistic.

Fame can be very dangerous, because you can start to enjoy that part of it. And that's not the good part of what I do for a living. The good part is the making of films. The unpleasant part is the fame part, if you're not careful.

South Indian films have most number of comedians and to see them all on screen at times is unrealistic. I'm happy that the industry has room for so many of us.

I love films that show people in a way that's so real it's almost unsettling, and that's what really inspires me because I write about people. I write about people that I know, so I want to portray them and portray myself in a way that is unapologetic.

I have done my fair share of good roles in unsuccessful films. There's no point in that.

I have done theatre, and I enjoy the process of smaller films a lot more. When I do such films, there are certain things which I get to do which are untapped. The scenes give me the liberty to play and mould the character in accordance to the director's mindset.

There are many films in which minority groups are caricatured to the point where truth is all together lost. There are many more films, good in general, but untrue in their presentation of the Negro's life as totally divorced from the Caucasian's or the Caucasian's from the Negro.

It is a very unusual sector and the one thing I would ask of them is to understand that for most of them one-third of their films are being financed by the taxpayer and that carries huge accountability and responsibility.

Generally speaking I would say I enjoy the smaller films more because there's a less sense of pressure and often the material is more unusual.

Sometimes I get a script that says, 'Only you can play it.' But I like roles in films with little moments - a hand movement in 'Melancholia.' I don't like the big speeches - the 'Oscar speech.' I like to do unusual things on screen.

I became alienated from this religious upbringing, and started making music. I wanted to be a big star. All those things I saw in the films and on the media took hold of me, and perhaps I thought this was my god: the goal of making money.

I think the kind of person I am, and the kind of upbringing I have had, I have my mother's aesthetic. So my choice of films will largely reflect that.

To call doing films upgrade from TV wouldn't be right because TV is huge too.

We created Pure Flix to make uplifting and inspiring content on a consistent, ongoing basis, so audiences would truly have an alternative to what Hollywood puts out. Pure Flix produces faith and family films, so the audience is the entire family.

The highest grossing films have great, moral messages - not dirty, base themes, so we're trying to get producers to make more of the uplifting movies.

I'm not at all fed up with British films, but I am fed up with playing upper-class people.

I am very emotional, and I get really upset when any of my films flop. I also get hurt over silly things. That is the way I am; I can't help it.

Everything I do is gauged under the shadow of 'Dil Chahta Hai.' Even 'Zindagi Na Milegi Dobara' and 'Rock On,' which are very urban films. So I am always seen through that lens.

Just a decade after 'Living in Bondage,' Nollywood films, made in some 300 languages, were being watched in both urban and rural areas, distributed on both the streets and online, and finding their way into international festivals.

With my films, I'm targeting the urban multiplexes, the sophisticated media-savvy young crowd.

I never played Freddy as real. In the true bible of Wes Craven's outline for the films, Freddy only manifests himself in dreams. And a lot goes into a dream, not the least of which is imagination. So Freddy is secondhand information. Freddy is an urban legend that's been handed down to these teenagers over the years.