'Newton' is a very Indian film. I think, after a long time, people will see an Indian film in its true form. As in the story, the character, it is set in the heartland of India, but it's purely like how there was a time when Hrishikesh Mukherjee used to make sweet Indian films.
Be proud that thou art an Indian, and proudly proclaim, "I am an Indian, every Indian is my brother." Say, "The ignorant Indian, the poor and destitute Indian, the Brahmin Indian, the Pariah Indian, is my brother."
Yes, TV is the dominant medium in Pakistan, but it was a conscious decision to have an Indian film as my first release. Being launched in an Indian film with a great script, character, and music is half the battle won. The rest is destiny.
'Newton' is a very Indian film but resonates with people all across. And that's the reason it got great response at the film festivals.
'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.
Indian filmmakers sometimes twist the details and the mood of the film to give it the Indian masala flavor. This tod-marod in films is a rather big impediment.
The film industry is large enough and has many successful icons that have taken Indian cinema to shores beyond India. I think that Indian cinema itself needs to be applauded beyond one individual.
The Indian Bureau system is wrong. The only way to adjust wrong is to abolish it, and the only reform is to let my people go. After freeing the Indian from the shackles of government supervision, what is the Indian going to do: leave that with the Indian, and it is none of your business.
I am extremely honoured by Indian Council For Culture Relations, India's apex body on the promotion of great Indian culture across the world for including cinema and I am deeply honoured for being the first person from the Indian film industry to represent the cause of this industry in the overall cultural promotion globally.
I've been offered roles in Indian films, but I wanted my debut film to be from Pakistan. A lot of people think that I've made my music career from India, but that's not true. I made it big in Pakistan, and then I went across the border.
I want to get rid of the Indian problem. [...] Our objective is to continue until there is not a single Indian in Canada that has not been absorbed into the body politic and there is no Indian Question and no Indian Department.
The life of an Indian is like the wings of the air. That is why you notice the hawk knows how to get his prey. The Indian is like that. The hawk swoops down on its prey, so does the Indian. In his lament he is like an animal. For instance, the coyote is sly, so is the Indian. The eagle is the same. That is why the Indian is always feathered up, he is a relative to the wings of the air.
If I'm playing an Indian in a Hollywood film, I won't do it in any funny Indian accent.
We need to give out portrayal of ourselves. Every non-Indian writer writes about 1860 to 1890 pretty much, and there is no non-Indian writer that can write movies about contemporary Indians. Only Indians can. Indians are usually romanticized. Non-Indians are totally irrepsonsible with the appropriation of Indians, because any time tou have an Indian in a movie, it's political. They're not used as people, they're used as points.
Of course, since we don't see the Indian as a living figure - having turned the Indian into a kind of mascot for the ecology movement, a symbol of prehistory - we can't see the Indian among us.
If anyone thinks Indian Muslims will dance to their tune, they are delusional. Indian Muslims will live for India. They will die for India. They will not want anything bad for India.
The average Indian doesn't care about Hollywood movies because they have far too many movies of their own to watch, to miss, and I hope a story like 'Million Dollar Arm,' that is actually about India and deals with these two Indian kids, resonates over there and makes people want to go and see the movie.