A Quote by Anirudh Ravichander

'3' is a wonderful film. — © Anirudh Ravichander
'3' is a wonderful film.
A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.
I love Brooke Shields. She's developed into a wonderful actress and a wonderful person. We were all babies then in Brenda Starr. That's why when people say, "What did you think of that film?" I can't do what people do and say, "I hated it." I can't speak ill of a film, because it's so hard to make a film. Everybody thinks we're sitting by a pool peeling grapes, and this is not the case. It's hard. It's hard to do this stuff - and getting harder!
You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.
The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure.
I started with Tamil film, then Hindi. Now, I am also doing a Telugu film. The journey has been wonderful so far.
The one immutable reality of film is, no matter how wonderful the actors and the performances are, every year the actors age and grow older - Sophie Turner's Jean Grey was wonderful!
O wonderful, wonderful, and most wonderful wonderful! And yet again wonderful, and after that, out of all hooping.
For example, how you would introduce a leading character into your film, and as an absolute ingenious example, [Elia] Kazan in his film Viva Zapata!, how he introduces his leading character Marlon Brando into the film. No film ever did it as wonderful as he did it.
When you tell a film financier that you want to do a Shakespeare film, their face drops. Shakespeare films don't have a very wonderful history at the box office.
It seemed like a wonderful honor to have the Film Society of Lincoln Center screen 'The Films of Raquel Welch.' It shows a lot of a variety in what they've chosen; it kind of runs the gamut of my film career.
If I could film, we'd film every episode of 'Doctor Who' in New York. I have an affinity with the city. It has some wonderful locations and it is devastatingly vast and huge. Central Park looks amazing on camera.
Um, 'Soul Food'... Another wonderful little movie that could. Here's a film that, I think our budget was maybe $6 million. We shot it in Chicago in six weeks. I was so proud of the film, because it showed America that an African-American film about family could sell, could do well, could cross over and have true meaning.
Any film that you see is never just the director. If it's a film that you love, it's not so easy to say, "Oh it's directed by this person - that means everything that person directs is going be wonderful."
So I feel a responsibility to help first-time film-makers in Brazil, but also to increase the dialogue between film cultures which are really wonderful and so much closer to us than what we do see on our screens.
And also, that's the kind of wonderful thing about film culture, is the interaction between films and who works on what, where they were before, and now what they're doing now, and that inevitably informs how people view a film.
Film maker Andi Olsen has a wonderful short film called Where the Smiling Ends. She waited at the Trevi Fountain in Rome and filmed the tourists only at the moment after their photos had been snapped, the moment their smiles dissolved. It's genius and heartbreaking. I think about her film when I explore the places the strips malls meet the wild world they are eating up.
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