Quotes About Cinema

The more sincere I could be, the better it would be for the film.

'The Room' was such a specific piece of cinema that worked because it was so sincere. That's the thing that's great about 'The Room': it's something that will never happen in the same way again.

A film is made for actors and actresses, not for singers.

In my opinion, the biggest achievement was by Shankar-Jaikishan. With Raj Kapoor's 'Barsaat,' they changed the way we looked at playback singing.

On film you put all your energies into a single glance.

All of my favorite directors are coming from a singular perspective, and I think that's been very lacking in film.

I've seen almost all of Rajinikanth sir's movies, at least the ones that have come to Mumbai, since I don't understand Tamil. I loved him in the movie 'Hum' as well.

I saw Mani sir's 'Bombay,' and I wanted to be a Mani sir heroine.

I've the highest respect and regards for Shankar sir. He has taken Tamil cinema to a new level. I would have loved to work with him, but there are some date hassles.

Anything to do with Anurag Basu sir is always special and interesting.

My sister Zoya and I have been exposed to the best of cinema of all kinds - Chinese, Japanese, Italian, etc.

I'm a big fan of Brian De Palma's 'Sisters,' and I also love 'Let The Right One In.'

The cinema should be human and be part of people's lives; it should focus on ordinary existences in sometimes extraordinary situations and places. That is what really motivates me.

I want to make it clear: it's not that I hate mainstream cinema. It's perfectly fine. There are a lot of people who need to escape, because they are in very difficult situations, so they have the right to escape from the world. But this has nothing to do with an art form.

I'm a huge John Hughes fan, and I grew up in the '80s, when his films came out. So, my introduction to what you'd call 'cinema love,' that illusion of love, was 'Sixteen Candles' and Molly Ringwald.

The Sixth Sense is not a good white film. Insomnia is not a good white film. They're just good films. So why we can't we have good films that happen to have black people, or Asian, or Latino, or any other minority group in them?

I don't care about the size of the roles, or how they're marketed or billed or anything like that. I would love to be a part of stories that tell us about where we've come from, where we are, where we're going - with great directors.

If I'm in the bookstore, and I see a 700-page novel, my first thought is, 'Ooh, how could you cut this down to size and make a movie out of it?'

I don't drink in the cinema because I have a bladder the size of a hummingbird.

I was skeptical about the whole idea of my being in a film.

I like French films, Chabrol in particular. With him, you often get a skewed morality in which you sympathise with the person you shouldn't.

I'm always very keen to learn a skill or a language for my films.

Commercial cinema is necessary to get money, but to get respect, it's necessary to keep coming up with good content and giving a chance to the talent whose craft and skill is immaculate.

It's a real skill to take a piece of literature and make it in cinema. It's quite a different form, and I think I have to respect that.