Top 100 Quotes & Sayings by Shoojit Sircar
Explore popular quotes and sayings by an Indian director Shoojit Sircar.
Last updated on September 18, 2024.
I had a personal experience of my mum being in comatose state in 2004. I would go to the hospital every day but would not do anything. I would just meet the doctor for five minutes who would update me about her.
There is no definition to love. It is a feeling.
Yes, I can be rigid and adamant about a point of view.
The first thing I control is the cost by not shooting for many days. It is not control, but somebody has to drive the whole thing. If I shoot unnecessary things, it will raise cost.
Documentary films have always been my passion, I have done documentaries.
I lived in the south near Tughlaqabad. My father was in the Air Force station. I used to go to Tughlaqabad Fort, and there's a huge city park there a big city forest, near the ruins. They were so beautiful. So I have been to those parks.
My first visit to Lucknow was perhaps in 1995-96. I was then working with theatre director Ranjit Kapur on the production of 'Court Martial' and we travelled to Lucknow on assignment.
Human beings have become so insensitive to daily life, they don't remember what happened five minutes back.
If I bother about the expectations how will I make a film?
When you're not working, it does affect you. It destroys you if your film doesn't release.
I remember watching an Iranian film, 'A Separation.' When the film ended, I felt like going to Iran, getting that family together, hug them and just being with them.
I have been thinking of many subjects to work around football, but nothing has inspired me. 'Sports' is a good subject. But, nothing has inspired me to make a film.
'Gulabo Sitabo' is a simple satire on life. It's a genre I have tried for the first time.
The word 'cinema' itself means that you have to go to the cinemas and watch it.
My films are always a struggle to make and will remain so.
In my films writers are more important than actors.
I have worked with Amitabh Bachchan in 'Pink' and 'Piku.' As soon as one film gets over, he is behind me, asking 'Which is the next film you are going to do with me?'
I am mostly at home and I do my housework, I read and I love watching documentaries. In short, I love staying at home.
When a film is made, its release is decided by its destiny. Nothing is bigger than that, not even me.
I don't spend unnecessarily. The problem with the industry is we don't budget our films. Plus, we spend bizarre amounts on marketing. If you have a good film and a good trailer, you don't need to spend so much.
My major influence is Satyajit Ray; his film 'Shatranj ke Khilari' was set in Awadh and it gave us memorable characters. Ray's musical scores and soundtracks were an intrinsic part of his films. And music to me is important, too.
Men have realized that when it comes to the workplace, both the sexes have equal stake because jobs are given based on talent and skill.
I don't watch films that are too unreal.
I am thankful for the fact that the audience doesn't expect common, run-of-the-mill films from me. But the fact of the matter is that if the subject doesn't hit me hard enough, I will not do it.
All my stories are mainly slice-of-life and rooted to real issues and situations that I have experienced myself.
Patriarchy is so ingrained in our psyche, that most us propagate it in small ways even without realizing.
My dad was suffering with cancer for six years and my mum was in coma for three-and-a-half months. So, I have seen the hospital life.
Even 'Piku' was quite an experiment in terms of storytelling because on the surface nothing happens in the film. If you ask me what was the film about, it was about father-daughter fighting and the narrative captured their daily life.
I have lived in South Delhi amidst greenery.
I call it an ensemble cast or the world of 'Gulabo Sitabo' which is about the lifestyle of my characters. I just go and sit there in a corner and observe these characters through my camera. That's how I shot the film.
If I am not able to go to theaters confidently and watch a film then I don't expect people to watch my film also.
Normally my films have a single thread of an emotion, an insight or one single belief, and then I turn the entire story and build it around that.
For all my films, location plays an important role because I like to give the authentic look of the place. And for that, one must go there and shoot at the right spots.
I try not to shoot unnecessarily or spend on extra expenses that normally happen on a film set - like actors' fees.
It is very difficult to explain poetry. You have to understand the poetry and figure out your own take and your relatability.
I remember I used to play football in my childhood and my team had people from different faiths and backgrounds. It had the son of the person who would take us to the school on his rickshaw or the guy who came to pick up our garbage but I never knew this.
I purposely adopted a style in my storytelling wherein I don't have to explain everything or why the story is moving in a particular way.
When I shoot a film, I take my camera and put it among the characters and let it show you their world, their problems, their happiness and the little things that matter to them.
When I made 'Vicky Donor,' people said it's not a family drama, it is for youngsters. But families also went and watched the film. Same happened with 'Piku' and 'October.'
In a satire, you need foolishness.
The unparalleled love of a mother is always there for the kids, specially when they're growing up and about to leave the family and go away.
Women have initiated the change all by themselves. The credit goes to them. Men have had no role to play in the rise in women's representation on a film set.
I am really influenced by normal, simple, everyday life and people, like the Biji and Dolly in 'Vicky Donor,' who used to drink and say whatever they felt like. These characters were so lively. I have seen these people around me.
Lucknow's architecture is a part of life in the city.
If I had used real names, I don't think 'Madras Cafe' would have ever seen the light of day because it was a political film, an adaptation of a true incident.
'Vicky Donor' is now seen as a case study and the intelligentsias are looking at it from a strong academic point of view. I keep getting calls from medical practitioners who constantly thank me for making this film.
My set is an open forum. Anybody can comment on anything and I take all suggestions from everyone. I am not rigid. If someone convinces me, I take the suggestion.
For me, it took a little time to understand the nitty-gritties of Lucknow.
Both 'Gulabo Sitabo' and 'Udham Singh' are cinematic experiences; nothing is less, nothing is more. It's all about creating good cinema.
Whatever subject I choose, I do a PhD in it.
I have been working on one film at a time. One film recovers a little cost and that helps me move on to the next one.
Cinema will not go anywhere. We want to watch movies in theaters. Cinema and digital will coexist.
Lucknow is a bustling city with warm, friendly people. 'Gulabo Sitabo' is the essence of this city.
Love is not just defined by making love or kisses or gifts. It is beyond that.
Humor is a very personal, subjective thing.
I am happy that I am back and with a great project like 'Vicky Donor.' I have had a hard time in the past with 'Johnny Mastana' getting stuck but I hope this film brings positiveness into my life.
A lot of expectations come from a Shoojit Sircar film, especially after 'Piku.'
For me, 'Gulabo Sitabo' is a satire... I wanted to do satire and I think it's turned out exactly how I wanted it to be.
My films are based on themes, so I always go for theme tracks and background score.
My films, sometimes, have my own reflections of life. They have life lessons I've had that I put across in a humorous or satirical way.
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