A Quote by Boney Kapoor

I don't think I can make a film without Salman. He is in 'Mr. India 2' and also in the sequels to 'No Entry' and 'Wanted.' I'm his new Sooraj Barjatya. — © Boney Kapoor
I don't think I can make a film without Salman. He is in 'Mr. India 2' and also in the sequels to 'No Entry' and 'Wanted.' I'm his new Sooraj Barjatya.
When your show is being praised by a maker like 'Sooraj Barjatya' you feel really special.
Director Kabir Khan had read the script of 'Bajrangi Bhaijaan' and is responsible for roping in Salman Khan for this film - a movie that will also mark as Salman's debut production.
When I did a film with Salman Khan, he used to get up at 5 in the morning for shoots. If I can handle Salman then I think nobody in the industry is a problem.
Now, more then ever, we have the ability to make films for almost nothing and that's broken down all barriers of entry. I think it's a new golden age of film-making. With that, there needs to be the ability to recoup investment dollars, people need to make money.
I also know Patrick White in Australia, both personally and as a writer, and Salman Rushdie in India.
I wanted to make a film about my dad, a sort of love letter, and explain what I understood of his cinema, which was so utopian. I also wanted to give the sense of his cinema, because they have never been very big box-office, but they were very influential.
'Mr. India' was a turning point. Before that, Hindi moviegoers saw me just as a glamour girl. After 'Mr. India,' they felt I could act.
The thing I do miss about the way some sequels were in the past was that each film felt like its own unique, complete tone. Now, sequels are tonal facsimiles of the ones before them, like a television series, whereas back in the past sequels would often be radically different from the ones before.
There are four simple ways for the observant to tell Mr. Croup and Mr. Vandemar apart: first, Mr. Vandemar is two and a half heads taller than Mr. Croup; second, Mr. Croup has eyes of a faded china blue, while Mr. Vandemar's eyes are brown; third, while Mr. Vandemar fashioned the rings he wears on his right hand out of the skulls of four ravens, Mr. Croup has no obvious jewelery; fourth, Mr. Croup likes words, while Mr. Vandemar is always hungry. Also, they look nothing at all alike.
Well, I am from India and I wanted to make films in English for the international market in India. So that was really the main thing, and then of course economically it was cheaper to make films in India.
I think true connectivity is something that is rare in sequels. I mean I love the first 'Die Hard' film; you won't find a bigger 'Die Hard' fan than me. But I feel like with the sequels, they're just taking that character and dropping him in different scenarios. There's no real connective tissue.
Mr. Rogers would not make a good protagonist of a narrative film. He's without conflict, he's too far along on his journey toward enlightenment to be a good protagonist. Our protagonists have to be struggling with demons in a certain way.
In India, multiplex ticket prices are high; therefore people are a bit hesitant. The ticket price for a newcomer's film is the same as a Shah Rukh Khan or a Salman Khan film. Why would people pay, say Rs 400, for a newcomer's film when they can watch a Shah Rukh Khan film at the same price?
I'm just trying to think what other sequels there were. There was the James Bond movies and not many. I think sequels have become a recent idea of franchising.
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I think that you can't make a movie without a script. But you also can't make movies without actors. You also can't make movies without technicians. And there has to be just one person in charge of everybody, and to me that one person is the director.
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