Film Quotes
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I used to follow celebrities, and I remember I watched Sanjay Dutt and Pooja Bhatt shooting for 'Sadak'. I was standing on the road at three in the night, but little did I know that I would be making a film with Sanjay at some point in my career.
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I always try to approach things from the point of authenticity. I've done that for my short films, working with non-actors from the real environments where you go exploring and placing them into the cast alongside professional actors.
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The importance is getting to something truthful and in that moment can only be in that moment. I don't like to use the word "improvise," but it's a continual writing of the film.
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The greatest joy in getting ready for the film is that there aren't many reference points for the journey and you've got to define it for yourself.
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You can have a film and have 200 white people working on it, and nobody finds anything wrong with that. But if you insist on having a black crew, all of a sudden there's something wrong.
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I had the idea that the film would be much better served by a Branch Rickey lookalike than a Harrison Ford lookalike. I didn't want the audience to go into the film thinking that they knew me from some previous experience in a movie.
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You know what I would like to do: make a film with actors standing in empty space so that the spectator would have to imagine the background of the characters.
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We were so ready with Valerian that we were early, which is unheard of in the history of the sci-fi film.
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My study is a converted garage which is largely lined with bookshelves and cardboard boxes filled with manuscripts of my film scripts, plays and books.
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The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.
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You always gotta continue to hunger. If you're gonna continue in any kind of industry whether music or the film industry or athletics, that drive to become better is what will eventually make you into that superstar everybody else will see.
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I push to be in good films and good TV shows. I don't really pick and choose. I pick and choose what I will read for, and I've gotten to the point where I'm being offered stuff.
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Theatre is liberating because it only works if it's truthful, That's what it requires. That's not true of film: the camera does lie.
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Especially for this film 47 ronin there's a nice mixture between western and eastern. So Ronin wearing the boots, like Western style. It's a nice mixture.
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The digital process gives me total control over how I want the film to look. The films look like they did when I was first looking through the viewfinder.
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Garrel has succeeded in filming something we have never seen before: the faces of actors in silent films during those moments when the black intertitles, with their paltry, illuminated words, filled the screen.
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I was 12 and I remember everything. I mean, I had done two films before that. The first was actually with Amy Heckerling. It was so brilliant to work with her on my first film. Atonement was the third one I'd done, and I remember how it felt to arrive on set every day. I remember how it felt to get my wig off at the end of the day. I remember how hot it was.
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I have two dream roles: One would be a biopic of someone I admire and respect and the other one would be some sort of action drama film similar to a 'Bourne Identity.' I just really want to do an intelligent action drama film.
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One of the great things about working with Focus is that you're never forced, especially with a film with low budget. The pressure is sort of off. It's like it's so under the radar in a sense that you can cast whoever you want.
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I know what I do. I know what I put on film. I know what I try to do. I don't want to talk about what I've done.
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Hollywood, to hear some writers tell it, is the place where they take an author's steak tartare and make cheeseburger out of it. Upon seeing the film, they say, the author promptly cuts his throat, bleeding to death in a pool of money.
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By drawing or exposing two or more patterns on the same bit of film I can create harmony and textual effects.
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Kolkata is the relatively unexplored part of India as far as Hindi films are concerned.
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I don't believe in having body doubles for a film.
