A Quote by Biju Menon

There is no point in performing in a film with a weak subject. — © Biju Menon
There is no point in performing in a film with a weak subject.
Contempt for China on the part of the enemy is his weak point. Knowledge of this weak point is our strong point.
Looking back, I'm surprised I had the nerve to do it, but I'm glad I did. Performing the songs and performing in film was just a part of my personality, just like football and boxing at one point in my life. I was able to lose myself in both of them, and that was a good feeling.
The subject matter that I am really spending my time on has become an acceptable subject matter. Living, lifestyle, family, is now in the forefront of interest in America, and I've just stuck with it. I mean, I've been doing this for years, and I never got angry. I never said, you know, listen, I'm fighting for this subject. That wasn't my point. My point was to continue working in a subject matter, knowing full well that finally it would be recognized as a viable subject once again.
The various forms of education or ‘normalization’ imposed upon an individual consist in making him or her change points of subjectification, always moving towards a higher, nobler one in closer conformity with the supposed ideal. Then from the point of subjectification issues a subject of enunciation, as a function of a mental reality determined by that point. Then from the subject of enunciation issues a subject of the statement, in other words, a subject bound to statements in conformity with a dominant reality
I mean, there's definitely a difference between film and live performances or live television. But at the same time, it's just performing. No matter what, it's performing.
Due to the political nature of film, partisan film making, especially where the subject is close to the film makers hart, tend to be the norm, rather than the exception.
I wanted to keep the complexity of the female experience in the film as much as it is in the book, and the subject of not wanting a child is a very interesting subject, one that's not dealt with very much actually.However that complexity was not serving the story of what became the film [The Girl on the Train].
I went from silent films to watching French new wave cinema. I became entrapped by it all. That's when I knew I wanted to do film. The moment you start looking at film from a critique point of view - there's a difference between watching a film as an audience and with a critical point of view.
Better to be a strong man with a weak point, than to be a weak man without a strong point. A diamond with a flaw is more valuable that a brick without a flaw.
The message of [Fahernheit 9/11] is very weak and propagandistic ... We were used to such messages in the communist days. Everybody has open eyes and can understand that this is propaganda. It was a weak film that tells us nothing new.
For me, there's one film at a time, and my only benchmark is that my current film should be better than my last one, and I've made sure of that. If you Google the trailer of my first film - which I request you not to - you'll see the vast change in my approach towards my profession and the slow gain of maturity in performing.
Donald Trump is already losing badly to Hillary Clinton. He is a weak candidate, and he's performing that way.
When I used a woman in my films or wrote a woman into my film, I wanted her to be a central point and a motivating point or a catalyst to function in the film.
I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.
I like film, and I like Broadway; I just love performing, so whatever God has for me, I'll be happy to just try it and see what happens because no matter what, if I'm performing, I'll be happy.
There's nothing weak about being subject to something.
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