A Quote by Anupriya Goenka
With independent films, you again get to work with new directors and experiment too.
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Going forward, I would love to work with directors like Rian Johnson and Joss Whedon; people like that who are doing big films but do have really independent voices. That's kind of what I want to focus on, is always working with people with at least an independent point of view, even if it's not an independent film.
I'm drawn to a lot of first-time directors. One of the great common denominators in these small independent films is that there's a person, or two people, who have an absolutely monomaniacal passion to get these films made. That's what makes them happen. Sometimes, it takes years and years to finally get it done, but by never backing down, by never giving up, they get these films to the screen by hook or by crook.
When you work on big commercial movies, of course there's more money involved and you can still do some good work. But with an independent, you get films that are really close to the writers' and directors' heart. Somehow it becomes a little deeper. A little more meat and not as much flash.
To learn anything other than the stuff you find in books, you need to be able to experiment, to make mistakes, to accept feedback, and to try again. It doesn't matter whether you are learning to ride a bike or starting a new career, the cycle of experiment, feedback, and new experiment is always there.
In studio films, everything has to be boxed in, everybody needs to know beforehand - this is comedy, this is sci-fi, this is drama - and what's the point of independent film if you don't get to experiment?
The Mumbai film industry has definitely a bigger reach. But considering the rich content of work in many Bengali films, even by new directors, there has to be a better financially backed distribution model for films here.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
We used to do four or five films at a time and were not able to experiment with too many things. But, the heart was in the right place and everybody worked passionately. We had wonderful directors like Bimal Roy, Hrishikesh Mukherjee, Raj Kapoor.
The key is you don't want to control the controlled stuff too much and you don't want to be too free flowing in uncontrolled situations. That can be a contentious issue with some directors. The joy of my career is I've gotten to work with great directors who get that balance.
You have independent films and independent music, but you don't have independent theme parks - I think, in a way, Burning Man is as close, probably, as you get.
The greatest thing about having done 'Orange' are the doors that have opened for me, and people have been able to see me, like the executives and the casting directors - also, all of the fantastic directors and writers for independent films.
It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label. There's like, 18 different independent film-financing funds. In fact, I think the children of those films are getting made. A more interesting question is whether those films are going to get seen and appreciated.
Television and cable have become the new independent films, in a sense, for writers and actors to gravitate towards. That's why I like short films, too; I love doing readings, audio books, working with young filmmakers; anything that keeps you from getting blase about yourself or in a rut.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
There are many young and new directors, who have fabulous concepts and story ideas, and this is why I do their films. And the bottom line is, when I was a newcomer, someone gave me a chance too.
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