A Quote by Angad Bedi

I wanted to be a part of commercial cinema. — © Angad Bedi
I wanted to be a part of commercial cinema.
I am the last person who has any judgement about any kind of cinema, least of all commercial cinema because I am a product of commercial cinema.
When I get saturated by commercial films, I'll probably do another film like 'Siskiyaan.' But yes, as a viewer, I really enjoy commercial cinema; so obviously, as an actor, I would love to be a part of one.
Basically, I have always wanted to have an art-house cinema. A cinema where we can show films that are not necessarily the current offerings on circuit and films that are not commercial.
I was looking to be a part of commercial cinema and that was when I signed 'Jodi.'
People know that I have a great love for cinema. Not just for commercial cinema, but for the “cinema d’auteur.” But to me, two of the great “auteurs” are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo.
I'm trying to do work that makes meaning and sense to me and the audience. But I have no qualms. I'm always willing to be a part of commercial cinema.
Without a doubt, I was born to want to make cinema, but the kind of cinema I want to make is not like commercial movies, which I enjoy myself, but I wanted to be the kind of filmmaker who wrote original work, sort of like a novelist would who deals with who we are and our times or our relationships.
I have always wanted to work with Lingusamy, as he is a master of commercial cinema. I have always admired his etching of female characters.
My first professional audition - god, I've never told anybody about this - was for a test commercial, I think it was for Xbox. It involved me getting kidnapped by a granny who wanted to play the Xbox. It was very weird and I definitely had no idea what I was doing. I actually got the gig. It wasn't a commercial; it was what directors did when they wanted to show the company what they would do with a commercial.
I would like to be part of sensible cinema, irrespective of whether it is a commercial or niche film, but it doesn't always pan out like that.
I grew up on the commercial film format. I have grown up all my life watching films and they have all been mainstream commercial cinema.
Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.
The third line of cinema today is neither art nor commercial but categorized as good and bad cinema. I think two films - 'Main, Meri patni aur Who' and 'Main Madhuri Dixit Banna Chahti Hoon' were the base films for this new line of cinema.
I was a complete anomaly in this business. I didn't fit into the Hema Malini-Zeenat Aman commercial cinema mould, neither the Shabana Azmi-Smita Patil art cinema mould.
It is my first preference to do films with social significance. Art cinema has given me credibility and status as an actor, but commercial cinema has given me a comfortable living.
I guess I'm part of the art house, but we really have to shake up our ideas, because we're kind of self-parodying ourselves. We go places commercial cinema doesn't go, but sometimes it's to our own detriment.
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