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I see a lot of movies. I love films as a spectator, and that's never obscured by the part of me that does the work myself. I just love going to the movies.
The realm of superstitions, fortune-telling, presentiments, intuition, dreams, all this is the inner life of a human being, and all this is the hardest thing to film.
Good cinema is good cinema. It makes you feel like you need to work. Just yesterday I saw a good film, but even if I'd seen a bad one, I'd feel, "Oh my god, what a bad job, I can do better."
I like to see films that come out with lower budgets because you're forced into using your imagination. You don't have everything at your fingertips. You have to create it from scratch.
I am often asked at what point in my love affair with films I began to want to be a director or a critic. Truthfully, I don't know. All I know is that I wanted to get closer and closer to films.
The film [Stalker] needs to be slower and duller at the start so that the viewers who walked into the wrong theatre have time to leave before the main action starts.
Kino-Eye uses every possible means in montage, comparing and linking all points of the universe in any temporal order, breaking, when necessary, all the laws and conventions of film construction.
Now that I can edit the whole thing on AVID and edit the whole thing on tape, maybe I will do the next digitally, because maybe the quality will become less obvious between tape and film.
I've never done work for money, ever. If your choices are based on grosses and the film doesn't do well, what does that mean? It leaves you with nothing.
Whereas painting is a more rarefied art form, with a limited audience, I recognized film as this extraordinary social tool that could reach tremendous numbers of people.
I love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit.
It was only after Pather Panchali had some success at home that I decided to do a second part. But I didn't want to do the same kind of film again, so I made a musical.
We had forgotten the art of using silence to convey emotions in our films and that's what you seem to have mastered. You've used silence to great advantage in the film. It's brilliant.
Mammootty is a great phenomenon.. If I was one among the jury for honourary award of Oscars, I would have definitely selected him as best actor for the film Dr.Baba Saheb Ambedkar
Select only things to steal that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent
I would be in Italy working on a film, longing for something simple - like, God, I would just kill to be sitting at a barbecue having a beer right now.
I sometimes cry in the moments that are not necessarily dramatic or tragic in the films, often because of the music. I wonder whether it's the music that has that effect on you in this film.
There's no such thing as "an auteurist filmmaker." Every film directors is an auteur. We only make films that we do because we cannot put on clothes that don't fit us.
I've lost all my money on these films. They are not commercial. But I'm glad to lose it this way. To have for a souvenir of my life pictures like Umberto D. and The Bicycle Thief.
The first really important book I read about filmmaking was The Film Technique by Pudovkin. This was some time before I had ever touched a movie camera and it opened my eyes to cutting and montage.