A Quote by Amitabh Bachchan
The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.
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For people to understand, you can't speak 'cinema.' Cinema doesn't have alphabets, so you have to go to the local language. Even in England, if they make a movie in London they have to make it in the Cockney accent, they can't make a film with the English spoken in the BBC. So cinema has to be realistic to the area that it is set in.
I always wanted to make cinema which will entertain the masses, cinema that could be called escapist but is mounted on a realistic scale with high production values.
In narrative cinema, a certain terminology has already been established: 'film noir,' 'Western,' even 'Spaghetti Western.' When we say 'film noir' we know what we are talking about. But in non-narrative cinema, we are a little bit lost. So sometimes, the only way to make us understand what we are talking about is to use the term 'avant-garde.'
MORE CONSISTENTLY THAN EVER I WAS TRYING TO MAKE PEOPLE BELIEVE THAT CINEMA AS AN INSTRUMENT OF ART HAS ITS OWN POSSIBILITIES WHICH ARE EQUAL TO THOSE OF PROSE. I WANTED TO DEMONSTRATE HOW CINEMA IS ABLE TO OBSERVE LIFE, WITHOUT INTERFERING, CRUDELY OR OBVIOUSLY, WITH ITS CONTINUITY. FOR THAT IS WHERE I SEE THE POETIC ESSENCE OF CINEMA.
When I make a film, I am hoping to reinvent the genre a little bit. I just do it my way. I make my own little Quentin versions of them... I consider myself a student of cinema. It's almost like I am going for my professorship in cinema, and the day I die is the day I graduate. It is a lifelong study.
Let me be very frank. I make films keeping within the mainstream and my cinema is popular cinema. I love it this way.
When I write, I keep the family audience in mind. I ensure there's no vulgarity, as families are coming into the theatres, and there's no blood and gore because of the kids. There is a set of people who doesn't like my cinema, but there's a bigger group that likes the kind of movies I make.
I was criticised for making 'Devdas' so ostentatious. But stark and realistic cinema isn't the only real cinema in this country.
I'm not able to completely escape naturalism. It's very difficult to escape from naturalism without being too dry. That's what I try to do in my cinema - escape naturalism and do films that are, at the same time, realistic but have a lot of fantasy. It's very difficult in cinema to get away from what life is about, from real life. The way the actors work has to be realistic - you can't do Baroque acting - so it's very complicated. And, we're human beings, so we're not perfect. I'm trying to do something different.
I have a very simple mantra and it's this: I want to make black cinema with the power, beauty, and alienation of black music. That's my big goal. The larger preoccupation is how do we force cinema to respond to the existential, political, and spiritual dimensions of who we are as a people.
People who would go to an arthouse cinema and watch a Swedish movie and read subtitles... it's a small percentage.
From the age of 1 to 6 there is a small percentage that is exclusively homosexual, a small percentage heterosexual and there's a wide band in the middle of people who respond to various stimuli. A little bit here, a little more there.
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema, are exploring some really bold themes.
There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema are exploring some really bold themes.
The difference that a drama group or a cinema club can make to a small village or a town. It opens people up to ideas, potential about themselves that really, in a way, education often fails to. It's a way of drawing a community together.
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