Film Quotes
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I used to sit in school and dream about getting into films.
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When i've done camera test, after we've shot and I've seen the monitor with the glasses (wearing a Kimono) and looking by myself in 3D. Oh my god. Especially for a Samurai film. I've never seen that. It's kind of a culture shock.
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There is competition. It's almost like I'm back in tennis competing in a way. There are usually about twenty composers vying for the number one spot for a big or medium film.
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Humans are vulnerable, messy little animals and that's normal. And all I want to do is make a space for that in my films.
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I just want to make films that are personal, but interesting to an audience.
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A good director is very well prepared, and knows exactly how he's going to cut the film, so the shooting is as efficient as possible.
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I have a team, the same team of filmmakers I worked with on 'Pi' and 'Requiem'. Which is my cameraman, and my composer, and my producer. We've all worked together for a number of films.
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I think film was my passion without it being declared like a job that I could have, or a career that I could have.
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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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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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I worked on 'Blue Peter' and 'Tonight' and lots of TV plays, filmed people like Rudolf Nureyev and Ted Heath, and ended up a senior cameraman with my own crew. I'd had my first short story published in 1947, and when my writing really started to take off I decided to go freelance, and eventually left the BBC in 1965.
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I know that there are police that are trying hard to do the right thing, and the film is also abouth the way that the police are treated by the state.
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Shyam Benegal has found a lovely voice in this film. We've all seen the kind of cinema he's come up with over the years. His films like 'Mandi,' 'Manthan,' 'Sooraj Ka Saatvan Ghoda' all have revolutionised the face of Indian cinema. And in 'Well Done Abba,' he has once again found a relevant subject, which even youngsters can relate with.
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There's plenty of film out there, and quadrillions of cameras that use film - I don't think it makes much sense not to use it. The thing that's going out is the manufacturing of the paper. Incidentally, all these years my wife has told me that I'm color-blind.
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Miyazaki's films in Japan are bigger than Titanic. He's an incredible rock star there. In the US, they don't do as well.
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So that, to me, is important that audiences are treated with an amount of respect toward their intelligence. Most Hollywood films don't respect their intelligence.
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Honestly, and seriously, I know I have to do a Telugu film. It was my grandmother's dream to see me in a Telugu film before she died. I couldn't fulfil her dream before she passed away, but I don't want to let go of it, either.
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Film seems to be a medium designed for betrayal and violence.
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Satra Ko Shaadi Hai is a very sweet film. It was the first film that I shot. I play a shy small town boy in it, which is an absolute contrast to what I played in Sanam Teri Kasam.
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I think Tim Matheson is amazing and I think he's amazing in this - I haven't seen the film [Killing Reagan] since we shot it, but I think he's just incredible.
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I come from the best era of film I believe; when people were taking chances on films. It's time for us to bring more truth to the story and not necessarily carry a torch for every Black person in America; just tell a story, and a good one too.
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The Conquest is not a film about Nicolas Sarkozy - it's a film about political conquest. It's a Shakespearean expression, where we have all the elements of a drama, both political and personal at the same time. The decors and the costumes are all based on real photos - I wanted to be as close to reality as possible. Nicola Piovani's theatrical music gives a distance that's almost Chaplinesque, there's something quite funny. There's no imitation, no caricature, no parodie - it's realism with a distance where the dialogues are often quite funny.
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The job's always the same. It involves helping to tell the story and creating an alloy between character and story that serves the film.
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There are many untalented people making millions of dollars in the film business.
