A Quote by Alejandro Gonzalez Inarritu
Always when you are doing films, the themes swallow you in one way or another.
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You have some great films every year, but for the most part, no one is making films with heavy messages or themes. People are afraid of doing that.
There's a level where the themes of a film are very relevant to me and also the idea of finding out how relevant one genre is to another. I think that westerns and samurai films and superhero films have a lot in common. It's just that the scale of the visuals in tentpole films can sometimes overwhelm the drama.
I respect Malayalam films the same way I respect Bengali films. I think Malayalam films have not compromised on the essence and have kept their own statement and are coming up with very good themes.
I choose my films in a way that helps me do justice to all of them. Also, I like doing time-consuming films like 'Baahubali'; it's sometimes more rewarding than doing lots of small films.
Film scores are often based on short themes, and it helps if you've got some way of developing these themes and making them sometimes last 4 minutes and sometimes last 40 seconds. One ends up doing it subconsciously.
Film scores are often based on short themes, and it helps if youve got some way of developing these themes and making them sometimes last 4 minutes and sometimes last 40 seconds. One ends up doing it subconsciously.
My films are based on themes, so I always go for theme tracks and background score.
What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.
I had always studied French and was obsessed with French films. I hated the way American films always had happy endings. I liked the way French films had dark and unpleasant characters; it was much more realistic.
I think my films are always quite self-reflexive and always question 'why am I doing this, is this the right way to do it, what is cinema for, does it have a purpose?
I think my films are always quite self-reflexive and always question 'why am I doing this, is this the right way to do it, what is cinema for, does it have a purpose?'
The thing that was most harmful was that there was always something that was about to happen. So I found myself indulging in the writer's luxury of doing another draft, another idea. If this project isn't happening, then I'll shelve one script and start writing another. And in that way, the years go by, and there's very little money coming in.
I'm always thinking about the next record. I've got like 20 different themes and then I'll scratch the themes. It's a learning process.
In terms of my career, it began in earnest when I was living in Boston. I started doing my own films, working initially as an editor and editing assistant - briefly - at WGBH, as an editor on other people's movies, trying to get some experience under my belt, but eventually just doing my own short films, doing them my way.
So far, yes, I have been doing only commercial films because those are the kind of films that came my way. Those are the kind of films that I liked, but definitely I'm open to doing other kinds of cinema as well, and if something comes along - if I like a character - then I would definitely do something off-beat or edgy.
I never maligned the sanctity of cinema in my career. I always selected themes and made films with the fervent hope that they will never demoralise viewers.
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