Quotes About Cinema

I was lucky to work with some of the finest filmmakers - Guru Dutt, Satyajit Ray, Vijay Anand, Raj Khosla, Asit Sen.

I have grown up watching Satyajit Ray, Hrishikesh Mukherjee, Basu Chatterjee, Ritwik Ghatak, Raj Kapoor; listening to SD Burman, RD, Kishore Kumar and Salil Chowdhury.

Bengal has always produced good cinema, be it Satyajit Ray or Ritwik Ghatak.

I worked hard to reach where I am and I certainly don't want to lose my grip over either Bengali or Hindi cinema.

Big, big movies are in 3D, but we haven't reached a point yet where that's just what a movie is.

I think it's great to see that there is such a connection to film music and the way people react or connect to a character or scene.

As a principle, I will never react to film criticisms. As long as they are part of film fraternity, whatever they say will be beneficial to cinema.

You make a film you feel is as real as possible and hope people react as though it were real.

I don't really know how my family and friends will react to seeing me on screen in a cinema. I'm sure it'll be an odd experience for them, just like I'm sure it will be for me.

I feel amused when women in Indian films are unfailingly shown screaming at their kith and kin who are involved in nefarious activities. Please, let's get real! How can a woman react so dramatically to something that has been happening under her nose ever since her marriage?

A 65-ft.-wide screen and 500 people reacting to the movie, there is nothing like that experience.

My theory is that there's a knee-jerk reaction against technology in movie making.

When you watch movies in Britain, the reaction when people hate a movie is... they just politely get up and leave at the end. And when they love a movie... they just politely get up and leave at the end.

I think documentary filmmaking is a braver way to make films because it's real, and you're really there.

Compare with a country like China, India has very few cinema screens, as we have real estate problems.

I have a kid and a husband and my family, and it's important to live the real life. I don't want to offer my whole life to cinema. It's only cinema.

My influences come from real life. I'm not interested in cinema for cinema's sake. I'm interested in life - what one does and how one interacts.

I've just always been interested in alter-naturalism and seeing if you can make real life interesting enough to be dramatic without enhancing it. Like, could you make a movie or write a play in which there's no compression of time, there's no enhanced event, it's just real life?

I like working in TV, but my real love is making movies.

I've had my best experience as a filmmaker with true stories about real people and real cultures.

Of course the French are making very credible movies and it is still one of the greatest nations in terms of world cinema but the real problem is the decay in film criticism.

You can't have the real thing on camera - that's the nature of cinema. When you see people like Daniel Day-Lewis and Ralph Fiennes screaming and hyperventilating, you're seeing the phoniest kind of bad acting. You may as well have a 'men at work' sign. It's not acting if you can see it.

I try to get closer to reality, to get close to the contradictions. The cinema world can be a real world rather than a dream world.

In most films, when we act, we don't see such meanings in what we do. Rather, we don't realise it. Only when we see it as a continuous film later on do we realise such deep meanings. That is the brilliance of the director.