A Quote by Balachandra Menon
I never maligned the sanctity of cinema in my career. I always selected themes and made films with the fervent hope that they will never demoralise viewers.
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I never planned my movies. I never selected subjects to win the National Award. I did films that made the masses happy.
It is true to say that for me sanctity consists in being myself and for you sanctity consists of being yourself and that, in the last analysis, your sanctity will never be mine and mine will never be yours, except in the communism of charity and grace. For me to be a saint means to be myself. Therefore the problem of sanctity and salvation is in fact the problem of finding out who I am and of discovering my true self.
Truly, my dear young friends, you are a chosen generation. I hope you will never forget it. I hope you will never take it for granted. I hope there will grow in your hearts an overpowering sense of gratitude to God, who has made it possible for you to come upon the earth in this marvelous season of the world's history.
I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
Indian cinema is no more limited to audiences in India. We have viewers all around the world, and hence, understanding the global perspective is a must. Cinema Beyond Boundaries would get the viewers and the filmmakers together and would help us in serving them with good quality cinema.
When I see good films not doing well, irrespective of my role being appreciated or not, I have a problem because then the producer who has made a loss will never believe in investing in good cinema.
I always wanted the films to play in malls, and I wanted as many people as possible to see them. I never want them to be marginalized in the kind of rarefied, elitist world. I always have hopes that the films will permeate culture in a big way. A lot of times, I'm wrong, but it's always the hope.
The second-grade films - where are they? No more are they made, and yet they were by far the best films for holding hands at, and wasn't this always the main purpose of the cinema?
When I stepped out from doing films and had a dark period, I never did anything dark on a set, so I never made enemies on a set. I never was a bad girl on a set; I always considered films a really sacred space, so when I had my problems, I had them very much away from the film community.
Basically, I have always wanted to have an art-house cinema. A cinema where we can show films that are not necessarily the current offerings on circuit and films that are not commercial.
Personally, I don't give a toss about French viewers. I make films for foreigners - it's a bit like Ken Loach, who's not very popular in England but has had a lot of success in France. Cinema is always an experience in a foreign body.
It is unintentional that I will do less films, it just happened that way. Like in 2000, I had a line of films signed but it all went for a toss. The films never got made... It just happens.
We have always wanted to give back to cinema, and we couldn't possibly think of a better way to do that than facilitate films which we believe will make Malayalam cinema proud.
I grew up with Western films, and I always wondered why Bollywood never made films like that. Why do we always have to break into song?
There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema are exploring some really bold themes.
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