A Quote by Ayesha Takia
A film is a film, and shouldn't be defined by language.
Related Quotes
Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.
To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.
I definitely have moments in my life where I discovered a film, and the language of the film itself spoke to me in a way, as if someone came up to you and started speaking a language you'd never heard but understood and was able to express things the language you knew could not.
Hindi film industry makes film for the rest of the world. Tamil films are watched by Malay people. When a film is not bound by a language, why should an actor be?
Any time there is a film in a 'foreign language,' in Spanish or Korean or whatever language, it's usually not an American film. It's usually from another country.
I look at a film as just a film; language doesn't really matter. I just don't want to limit myself to a particular language, genre or medium.
'Minari' was only eligible for the best foreign language film category due to the HFPA rules on language, so the film was submitted to meet these rules; there was no choice involved in the matter.
Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.
Whether the film is a Hindi film or in a South Indian language, I don't think it matters.
Film scripts are more important for me than the language of the film.
While 'Babel' is a foreign-language film in some countries, in others, it is a local film.
I think that every film should have its own structure, and that's the beauty of film language - is that we get to express that deeply individualistic side of ourselves.
I don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.
When the film [Certified Copy] was in the Cannes Festival, I realized that the fact of having it shot in a different culture, in a different language, in a different setting, that wasn't mine and that I didn't belong to, gave me a totally different relationship to the film. When I was sitting in the audience during the official screening in Cannes, I didn't feel that it was my film.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
I have never been someone who chooses a film according to the language. Since I am comfortable with Tamil, Kannada and Malayalam, the scope of the film is all that matters to me.
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