A Quote by Brian Lindstrom
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.
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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.
I got into film in an odd way - when I was 17 years old I participated in a Swedish film as an actor. I think every person at that age should get a role in a film, because during that time you want acceptance, and when you have a role in a film you become an important person. I think about that now, and that was my fantastic starting point.
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.
Every language having a structure, by the very nature of language, reflects in its own structure that of the world as assumed by those who evolved the language. In other words, we read unconsciously into the world the structure of the language we use.
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?
I think film should raise questions, not give answers. I think film should challenge people to reflect, debate and get by themselves to the answer that fits them.
I think personally that every actress should do a little film. Even a short film. And all directors should act, to know how difficult it is also the other way around.
Film is a much lonelier process than theatre. You really don't have any rehearsal time in film. You don't shape it together... with theatre, there is a complete kind of family atmosphere. The sociable side of this business is the theatrical side, it really isn't the film side.
A film is its own thing and in an ideal world I think a film should be discovered knowing nothing and nothing should be added to it and nothing should be subtracted from it.
I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.
Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.
But I don't think as film-makers it is our responsibility that every time we make a film we should be saying something. If you are entertaining people, that's more than enough.
You shouldn't think about the fate of the films. The film might succeed or fail, but your performance must be good. You should work hard for every film.
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.
If it's a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it's a failure. That is what I think.
Whether the film is a Hindi film or in a South Indian language, I don't think it matters.
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