A Quote by Arvind Swami
I can't watch formulaic films and hence, won't write or make one such film.
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I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.
If we make films only for the frontbenchers, we can't make money. Hence, we have to make it for a majority audience. As my films are mass films, I deal with emotions in raw form - they are not subtle. I don't mind being branded. That does not mean I like only those kinds of films.
The film I do doesn't have to be a film that only my kids can watch. My kids will watch films, but I will decide what they watch and not. My aim is to play different characters and not be stuck in a mould. Just because you are a mom and a wife doesn't meant you have to play those roles, even in films.
I'm a filmmaker; I want to make films. I don't want to sit in a hotel room waiting to make films, and I can control my thing in Denmark; I can make the film I want to make... of course, I have to write a good script, all that, but if I do my job, it will happen.
Film fests are an opportunity to see different kinds of films that you usually don't get to watch. When I'm part of a jury, then I get to judge films, but otherwise I attend festivals to watch two or three films a day and network with a gathering of cinema lovers from all over.
Pure Flix makes evangelistic films, but we also make family films. I think the viewer wants to see quality entertainment that the whole family can watch, and many nonbelievers watch our films because they can watch with their family and young kids.
I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you're making a horror film doesn't mean you can't make an artful film.
One of the head guys at Disney categorically said to me, 'We don't want to make children's films any more. We want to make films that are going to appeal to all quadrants.' Hence you have films like 'Shrek' and all the Pixar stuff, which is designed to suit everybody.
But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.
Even today, I'm not sure why I make films or what makes me want films. I think it's other people's films. Whenever I see a really great film, I think, 'I want to make a film like that.' And then I never do.
I love Pixar films; I think they're the greatest filmmakers in the world. I love Disney films. 'Tangled,' was great. I loved 'How to Train Your Dragon,' the Dreamworks film. But it's not for me. I don't want to make a film for families; I want to make adult films.
Though I'm happy with the response to the film, I've been hearing the feedback that 'Yennai Arindhaal' has traces of my earlier films. It was meant to be like that. Since it's part of a trilogy, hence the reference to the other two films in the franchise.
Actually, I can't stand watching violent scenes in films; I avoid watching horror films. I don't tend to watch action films mainly because I find them boring, but I watch the films of David Cronenberg and Martin Scorsese, usually in a state close to having a heart attack. I'm a complete coward. I make violent films as a result of my sensitivity to violence - in other words, my fear of violence.
A film star is a film star, and you can't take that away. Hence, I don't think about money when I do films, but I will do it for TV like the way I do it for endorsements.
I don't study films particularly. I plan to direct, but I'm not watching film - I watch the entire film to see how the story goes, but I don't say, 'Oh, so he does a slow pan here, or he pulls here, watch the crane shot, or look at the composition,' because it's got to be my eye.
If you are going to call a film a 'black film' then you have to make a film that represents everyone that's black, which is almost impossible. That is why white films are not called white films, they are just called 'films.'
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