Quotes About Filmmaking

I like to make popcorn movies. It's my passion. I love the genre.

For 'Chungking Express,' the way we shot the film was all handheld and with all this existing light, and that became very popular. Everybody thought it was cool.

When I grow older and less popular, there will come a time when I have to shoot films on low budgets.

I would love to make a film in the outback or in Papua New Guinea, in Port Moresby. I know that it's not in Australia, but it's not too far.

How I'm portrayed in films has more to do with the filmmaking and what they need in the story than anything else. I'm the same person I've always been, I just get used in different ways according to the filmmakers' needs - which is fine with me; it makes for great films.

As a film-maker, it's only natural to feel happy about new possibilities opening up.

There's really no difference between what I do and what a male filmmaker might do. I mean we all try to make our days, we all try to give the best performances we can, we try to make our budget, we try to make the best movie we possibly can.

I'm a film maker who started on the Atari and then went onto the Commodore 64 and the Amiga. So I possibly have a different sensibility to people who didn't play games growing up.

There are a lot of aspects of filmmaking that I love, but one of my favorites is in post, finding the right song for the right moment.

To come into my world, I've got some M&Ms and some potato chips, and I'm asking you to move furniture. We're making a movie. We're making it like we're putting on a play.

Every filmmaker's just going to keep trying to make it the best you can make it: make it as potent and interesting and entertaining and exciting and tough and sexy as you can.

After I made my first short film that wasn't terrible, people were interested in potentially developing a feature with me. Every time I read a script, it was a bizarre, too-dark, genre-less thing that no one wanted to make.

Maybe many directors are trying to create their own style of filmmaking, or to respond to audiences that come expect a certain style from them. But I don't care about that - I don't intend to have a 'Miike' style. I just pour myself into each film, enjoy it, and then what comes out just seems to have a 'Miike' style.

I would love to work with Raju Hirani. I never thought I would have a wish-list of directors as such, but after seeing the consistency of his storylines and the human touch he gets in his film, I would love to work with him.

We don't worry about continuity because when we're doing so many improvs, it's better to get the laugh. It's better to get the great lines even if they're in the wrong part of the room.

I don't have continuity people. I don't have clapper boards. I don't have monitors. I shoot very fast, I shoot a lot, and we just keep on going.

Making 'Caddyshack' was like an exercise in controlled chaos.

I never control a film. The film controls me.

I come from a generation that had no monitors on the sets. You had to go with the director's conviction and be happy with it. I still work like that.

I was very focused when I wanted to make 'Dil Chahta Hai,' though it was difficult for me to convince people that I know how to make films and I will be able to direct and put a film together.

It is difficult to make movies on your own terms and also to make a film and convince somebody to have faith in it.

If you ask a filmmaker to analyse his own film, it would take three or four years to do that, honestly. Because when you make a film, you have to be convinced about it. You are married to that film for a year.

It is easier to produce a film on your own than convincing another person to come on board.

Even if you come up with a conventional script, directors face several issues in convincing people to get on board.