A Quote by Ashwin Kumar
When people around me were signing films, I would wonder why nothing good came my way. See, I wasn't desperate to do films, but I was desperate to do good films.
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There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
I didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me. I started totally free and crazy and innocent. Now I've seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don't do commercials, I don't do films pre-prepared by other people, I don't do star system. So I do my own little thing.
I'm not a purist - I like films that are narrated and films that aren't, films that are beautiful and films that are clumsy but heartfelt. Mostly, I just like a good story and good characters.
The films that have influenced me and the films that have motivated me and inspired me were films that resonated, films that made me think after I saw them.
I want my films to do the talking. I feel if people have to understand me better, I should do more good films. I just want them to know me through my films.
The Sixth Sense is not a good white film. Insomnia is not a good white film. They're just good films. So why we can't we have good films that happen to have black people, or Asian, or Latino, or any other minority group in them?
Britain is producing some of the worst films in the world. Our film industry is desperate to be part of America, and we just churn out flaccid imitations of bad films over there.
In India, we always look at feature films as a progression over short films. But, abroad, people make a living making short films. The revenue might not be as much as in feature films, but the return on investment is good.
I'm happy that my films were discovered by chance by foreign film festivals. That makes me realise more that there is a world outside Japan too. For me, it's an occasion to meet many people and to experience directly the response of international audiences to my films. But for me as a director, my attitude towards making films hasn't changed with the fame. I feel it's not good to change as a person anyway
I am probably the only actor who came from television serials to films and was able to work in films this long. Of the 75-odd films I've done, in around 40 of them, I've been the hero.
Sometimes, they don't even make films with good cameras - they shoot with normal cameras and release the films. If this is going to be the case, the industry will not see quality films.
The good thing about films is, you never know how good they will be. If there was a formula, there would only be good films!
I was a good student. For a while, my parents did make me cope with school and films simultaneously. But after a point, this wasn't practical. I had to choose between studies and films. I chose films.
Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
Meryl [Stripe]spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately [biased] on what kind of films you are being told to go see. What are you told are good films? Male films.
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