Top 60 Quotes & Sayings by Gurinder Chadha

I am not afraid to be a pioneer. When a door is ajar, you need to open it fully. And once you are in that room, you need to see what other doors there might be and where they might lead.

Once I started writing the screenplay of 'Bride & Prejudice,' I was convinced Jane Austen was a Punjabi in her previous birth.

I'm absolutely delighted because I'm part of the process that has made Asians very much part of the mainstream fabric of Britain, whereas, when I first started, we were completely on the margin.

As I grew up, I always refused to cook Indian food very vehemently, and to this day, I don't cook chapatis at home. I'd always say, 'Why do I have to do it? Why don't the men do it?'

'Up the Junction' really made me understand the power of cinema to create a vivid sense of a community. When I went on to make 'Bhaji on the Beach,' it was this sense I tried to recreate.

If you want to be a director, work with writers and find different ways of telling stories with film, then do a course. This way you can consolidate what you've learnt and use the course to go further.

When you're told that as a filmmaker of colour, the stories you want to tell aren't commercial enough, then you start thinking, 'I'm going to tell them anyway.'

If you tell me I can't do something, that's the worst thing to tell me. And that's what I tell girls, and what Beckham's about: you can do it, you can do it better, and you can do it in the way you want.

I can't stand films where parents are portrayed as old and doddery, and ignore their kids.

Britain has nurtured me and made me able to make movies that have travelled round the world.

Bollywood is a cinema of vibrant contradictions, which works when it seems it shouldn't.

Southall Broadway, in west London, has been a constant part of my life from the day I arrived in England as a baby from Kenya in 1962. My parents rented a room in one of the terraces off the Broadway, and I've seen it change from an ordinary English high street to what is now 'Little India.' with a confident Asian community.

I was a journalist when I made 'I'm British But...' I'd seen how important the media was in terms of defining Indians - after the riots in the '80s, I was like, 'Oh my God!'

Indian films never show cows. When you go to India, the most noticeable thing is the cows. Everywhere you look, there's cows walking around! Just by introducing the idea of animals - livestock walking around - suddenly makes it more real.

I saw 'Billy Elliot' again, and what I loved about it was the way it had become a social document, a reminder of what happened with the mining communities in the '80s. And I thought, 'Everyone keeps wanting me to make a sequel to 'Beckham,' but maybe a musical remake is the answer, embracing all this theatricality.'

I love 'I'm British But...' It's such a sweet, innocent, open-hearted film, and it has the sort of openness that I still aspire to with everything I do. It wears its heart, head, everything on its sleeve.

I tell stories about people audiences might think they have nothing in common with, then they emotionally connect with them and find they're not different at all.

My films do have a big following among young girls, and I want to instill confidence in them, a sense of self-appreciation - to make them feel they can be spirited and say what they feel.

The more I make films, the more I feel less inclined to talk about them and just let people watch them. I feel that the pictures are telling the story, and I can't really add anything except just talking about the technicalities of what happened on the day.

I use humour a lot because humour is a great equaliser. Everyone laughs at the same things if you set them up properly, and that makes everybody equal. At the end of the day, I see my job as being there to entertain as well as inform and provoke.

Constantly, I've been asked to make a sequel to 'Beckham.' However, I thought a West End show was the proper way to go. Once we made the show, I wanted to make sure that I embraced the West End genre rather than just put the film on stage.

DVDs have their place, but the cinema is a tangible, emotional experience that I would hate my children not to have.

I went to L.A., and I was on two different studio movies at Fox and Sony, but they were never made in the end. When the second one wasn't happening, I ended up doing an episode of 'Who Do You Think You Are?' for the BBC, and went on a roots trip from England to Kenya, India, and pre-partition India in Pakistan, where my family originally came from.

If I'm in a gathering of filmmakers, I'm first and foremost a British Indian; if I'm in a gathering of British Indians, I'm a woman director. There are so many sides to who I am that I change all the time.

One of the head guys at Disney categorically said to me, 'We don't want to make children's films any more. We want to make films that are going to appeal to all quadrants.' Hence you have films like 'Shrek' and all the Pixar stuff, which is designed to suit everybody.

For British cinema to survive, you really need a British film culture, and it's got to start down there, with young kids watching films in the cinema - so they can be transported to a different world.

The great thing about musicals is that they transcend race.

One of the best things about the award season is that when a British film succeeds at the Oscars and BAFTAs, such as 'Slumdog Millionaire' in 2009 and 'The King's Speech' this year, the British public get right behind it with an immense sense of national pride.

Third-generation Indians love maintaining their cultural traditions, but they can also go down the pub, shop till they drop, do whatever anyone else does.

It's not simply that British films do well at the box office and generate revenue, it's that they provide a window to the world of what Britain and its culture is about.

'Viceroy' is the first British film about the Raj and the transfer of power from Britain to India made by a British Indian director. It is a British film made from an Indian perspective.

My pregnancy was great, but the last three weeks were manic because my blood pressure was going up and up.

I know it sounds really weedy, but we are all children who seek approval from our parents.

All my films are about kind of being seen to be one thing when you're actually something else, and the power of the female spirit to make things work your way on your terms. Which is what I do.

The only time I used to feel like an outsider was when I first went to India.

On the outside, America looks like this great melting pot, but on the inside, there's this segregation in American cinema. Why does a Latino film have to be for Latinos? Why is a black film just for black people? Why?

I knew from an early age that people didn't see the different sides of me. I formulated a kind of bi-cultural identity quite early, and I was always very comfortable with it, but I knew people didn't quite see that.

Australians have a fantastic sense of humour and incredible taste. I was there for 'Bend It Like Beckham,' and I had a great time. Aussies loved it, and I think 'Bride & Prejudice' is going to do well, too, because it's all about having a good time.

One of the things I want to do with 'Desi Rascals' is go a bit deeper into the characters and their family lives and have a bit more heart and a bit more inter-generational story-telling, so it's not all about young people.

'Up the Junction' went on to inform my love of British social realism. It was the first film I saw of this ilk, a very stark, visceral reflection of England, an England I didn't necessarily feel a part of but that I knew was out there. You could almost smell the bread and butter and cabbage.

Our films have the ability to tell global audiences who we are, and this is something the government should feel compelled to protect. My film, 'Bend it Like Beckham,' for example, would not have been made without the backing and support of the U.K. Film Council.

There are very few people who are Asian who have the kind of global reach that I have, not just with Asians but with non-Asians. I've worked hard for what my name represents, my brand, not just in Britain but around the world.

I was a good Indian girl, but naughty in that I would often sneak out of the back door and into the garden and go off with my friends when I should have been at home cooking or cleaning.

I remember a picture on the front page of the 'Sun' during the Brixton riots: a rasta guy with a petrol bomb, and a headline saying something like: 'The Future of Britain.' And I thought: 'Wow! Look at the power of that image,' and I wanted to get behind the camera to make these people three-dimensional.

The fact that it's hard to create an original British musical doesn't mean you shouldn't try.

I really thought I couldn't be a mum. We had tried several times with IVF,, and it hadn't worked and we'd given up in a way. We both thought, 'You know what, that's that. It's not going to happen - let's move on.'

You'd be surprised how hard it is getting the human emotional arc in a script to work. Ultimately a director stands and falls by their ability to do that.

Writing film scripts is the hardest thing in the world. A script has to go to five or six drafts, and you need the feedback of other people and to keep coming back with a fresh eye, honing it down.

I've been wanting for a long time to create a show which allowed me to show the British Asian community in a truly three-dimensional way, exploring the relationships between generations and what it means to be British and Asian as values become fluid.

It doesn't matter how complex your plot or your characters are; you have to be able to express the big idea of a film in a sentence or two.

Well, I think there was a time when I first started that there was such a thing called 'a woman's film' and there were certain scripts that women would make. But I think that's changed a lot now. I think that if a woman director walks into a room with a script, it doesn't really matter what the subject matter is, or the genre is, so long as the financiers feel that the woman has the skills to make the film.

I'm a good Indian girl, I still don't do sex scenes in my movies because my mum would kill me!

There was a time when I first started that there was such a thing called 'a woman's film' and there were certain scripts that women would make. But I think that's changed a lot now. I think that if a woman director walks into a room with a script, it doesn't really matter what the subject matter is, or the genre is, so long as the financers feel that the woman has the skills to make the film.

When you have a baby you start thinking of death cuz' you see the opposite of life. I've calmed down now but for the first or two years, I kept thinking: "Oh my God, if I die what's going to happen to the child?" And you realise how vulnerable they are, but how critical your own life is because they're so dependent on you. You do feel your own mortality. I kept saying to myself: "OK, when they're 18, I'll be 'x'; so if they get married at 30, I'll be'x'will I get to see grandchildren?" So, since they've been born I've been thinking about death the whole time.

The reason I do what I do is that I find that Asian community gives me an endless source of humour. When I entered the filmmaking business, my whole purpose was to promote and make us visible because we were very much on the margins. So, I wanted to make us mainstream. My work has helped to mainstream-ise the Asian community.

It is hard directing. The hours are terrible and you have to sort of suspend your life when you're in production. So, being a mother is very hard. I can absolutely see why there are so few women directing, because it's physically a very demanding thing to do. Fathers can only do it because they have wives at home doing all the other stuff. I can only do it because I have a husband that helps with the kids at home

There's so many people telling you what you should look like, what you shouldn't look like, what clothes you should be wearing, whether you're too fat or too thin, you're hair should be this shape... you're bombarded. So, I like films that show girls going through that quagmire and coming out the other side really confident in themselves and strong in themselves.

After 'Bhaji On The Beach', I didn't make a movie for six years. I couldn't get a movie off the ground for love nor money. It was a very tough time and I almost gave up. If I had been an Oxbridge bloke after 'Bhaji', my career would have been very different

If a good actor wants a role, they'll do whatever it takes to get the part. Directors are the same. We do 'meetings', not auditions: that tells you a whole lot more about an actor, too.

It is hard directing and being a mother. The hours are terrible and you have to sort of suspend your life when you're in production. I can absolutely see why there are so few women directing, because it's physically a very demanding thing to do. Fathers can only do it because they have wives at home doing all the other stuff. I can only do it because I have a husband that helps with the kids at home.