Top 97 Quotes & Sayings by Mira Nair
Explore popular quotes and sayings by an Indian director Mira Nair.
Last updated on December 21, 2024.
I listen to music deeply and seriously for at least an hour or two a day.
It gave me a lot of pleasure and pride that 90 percent of the crew for 'Monsoon Wedding,' and most of my film, are women. We get the work done, you know, much lesser play of ego... And I really believe in harmony, I believe in working in a spirit of egolessness and that the film is bigger than all of us.
I grew up in a small town in India, but through books I knew the world.
In Uganda, I am surrounded, unfortunately, by evangelicals; I can't bear it. Every night I hear the chants of Baptists urging people to be born again.
I grew up thinking anything was possible simply because of seeing women in power - like, you know, running the country. Which is a thought that continues to give Americans indigestion... Direction is about having a vision, but the practice of being a director is a con game - a confidence game.
If we don't tell our own stories, no one else will.
Truth is much stranger than fiction and, often, much more powerful.
I started to make my own films, however small and however independent they were, from the beginning. And so, even though I was nobody, I was always the master of my own work.
I always like to reveal the fact that the emperor has no clothes. And children are best at that. They teach us how to see the world in that sense. They are without artifice; they see it for what it is. I am drawn to that ruthless honesty.
I know what it's like to be in one place and dream of another. I also know what it's like to feel that nostalgia is a fairly useless thing because it is stasis.
My family is almost exactly like the one in 'Monsoon Wedding'. We are very open, fairly liberal, loud people.
I came from the school of cinema verite documentaries, which was: Do not manipulate reality as it was happening but create a narrative in the editing room.
I think, in terms of activism associated with my films, be it 'Salaam Baalak Trust' or 'Maisha,' taking the idea of cinema as a way to change people, I feel heartened. I am glad that we have impacted thousands of lives.
We have to realize only in communication, in real knowledge, in real reaching out, can there be an understanding that there's humanity everywhere, and that's what I'm trying to do.
I grew up in a very small town which is remote even by Indian standards. I always dreamed of the world.
'Salaam Bombay' didn't put a halo on the poor. Instead, it said that they will teach us how to live.
I am actually a resident of three worlds - of America, of India, and of Africa. I live in Uganda most of the year. It's extraordinary to have that worldview that is an expansive one rather than just looking at the world from where you sit.
I want to question what the outside is and who defines it. I often find those that are considered to be on the outside extremely inspiring.
Americans are not used to being bombed in their beds, but if you come from anywhere outside America, it's not highly unusual.
Every film is a political act; it's how you see the world.
My family is vital to me - just the sense of being surrounded by no pretension.
I think there's a level of ignorance, when, in the callowness of youth, you imagine that you are inventing the world for the first time. You imagine that your parents don't know what it feels like to fall in love.
To make films, you have to have something to say. To have something to say, you have to be a student of life. And to be a student of life, you have to be feeding yourself with what life, politics, society, and your family fuels you with.
New York City is home to so many people from so many places and the uniqueness of it is that you never feel a foreigner. English is almost hardly ever heard in the subway. In fact, it's weird.
I think optimism springs from nature. I'm a gardener. Nature has taught me about rhythm, the essence of every art. With so much that is terrible, nature gives me pleasure.
Never treat anything you do as a stepping stone. Do it fully, and follow it completely.
I am still attracted to stories about people who are considered to be on the outside of society. I still seek inspiration from those stories.
I often begin movies with music in my head; it's a very important dimension to me. Not just the music itself, but how to use music in film: when and how and subtlety. I don't like to be too sweet in my stories, and I like the abrasive clang, the contrasting of sounds and cultures.
I think in the last thirty years, the rich have gotten richer and the poor have gotten poorer. It is not something that you can see with rose-colored glasses.
Christmas lights may be the loneliest thing for me, especially if you mix them up with reindeers and sleighs. I feel alone. I feel isolated. I feel I do not belong.
In our house we say 'adolescence' is a western word. We don't believe in it.
No one goes to Pakistan to make movies. You stick out.
With Vietnam, the Iraq War, so many American films about war are almost always from the American point of view. You almost never have a Middle Eastern character by name with a story.
Humility is not a trait I often associate with America.
For seven years, I made films in the cinema verite tradition - photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.
Marriage of attraction is a gamble anyway, so you might as well marry into a family that is similar to your own, and make that much less of an adjustment. But the 'love marriage', as it is called, is equally common in India now. But it would be interesting to do a comparison of what would work better. Marriage is hard work, and it is a gamble.
I love the idea that it doesn't take one person only to achieve your potential. It takes a village, it takes a community, a street, a teacher, a mother.
Never take no for answer, and try to make films that turn you on.
I am an independent film-maker first and foremost. I have always cut my own cloth.
You have to want to be in the company of those you're making films about.
My films, no one else will do.
We have three generations at home, including my father-in-law. I keep a very low profile, and a lot of things I do are very much with the family in mind. I have actually made films with the family around me.
Middle-class Pakistani cultural life is what I've seen, what I know - they're not all screaming faceless mullahs. It's disturbing that in American films, the character on the other side is not even named.
I look for the humanity in people, however big the politics or oppressive the situation may be, whether it's subsumed within a human being or between two human beings. I want to help us hold a mirror to ourselves.
Making films is about having absolute and foolish confidence; the challenge for all of us is to have the heart of a poet and the skin of an elephant.
Life is short, so I'm knowing exactly where I'm putting my time. I don't want to do things that I don't have to do.
'Queen of Katwe' is an absolutely true story. And it's wonderful. But it's not about saviors. Your only savior is yourself - but yourself with your community. It's never alone. You have to have someone who believes in you.
It took me three years to learn to dress in the American way, especially in winter. That was just like me. I barely wear socks even now.
It's only at this age that I can say the word 'art' without flinching.
I'm a self-taught landscape gardener; it's a real passion of mine. It's what I do in my spare time because trees don't ask questions!
Truth is more peculiar than fiction. Life is really a startling place.
India somehow constantly rivets and inspires me, and I feel very relieved to have come from this country which has a very 'lifeist' approach to living fully, no matter what one has or doesn't have.
Creative freedom is an imperative for me, but it doesn't really exist in a Hollywood game.
We want the diversity of the world that is around us represented both in front of and behind the camera, and on our screens as a result.
In America, we have so many movies and so much media about the Islamic world, the sub-continental world, but it's not a conversation, it's a monologue. It's always from one point of view. 'If we don't tell our own stories, no one will tell them' is my mantra.
Every frame and every scene has to have an intention.
I'm inspired by people that are marginal. I'm excited by their resilience.
You know, the sad thing of post-9/11, which was of course horrific, was that the city in which I felt completely at home for two decades, suddenly people like us - brown people - were looked at as the 'Others.'
We all know the power of film; we all know there's almost nothing more powerful than to see people on film that look and talk like you, like we do.
They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'
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