A Quote by Chunky Pandey

I have realized that there is no point doing a small film. — © Chunky Pandey
I have realized that there is no point doing a small film.
At the end of the day, regardless of whether you're doing a huge budget film or a small budget film, you still want the film to do well, and have people see it. That's the whole point. You want to put some kind of message into your films, and you want people to see it.
For so long, I was searching for something to be proud of. But at a certain point, I realized, 'Wait, I'm doing what I want to be doing. I'm not wanting to do it; I'm doing it.' And that's awesome.
It proved to be pretty impossible to get funds for a feature film in Finland. It's still small, but the film industry was miniscule at that point in the early '80s.
I did a small, small thing in Quiz Show, where I was really just a glorified extra. But, you know, New York actor, few days on a film set: Great! I was probably making subway fare on the play that I was doing at the time. I always think of The Underneath as the first film that I ever did.
My position was that the film begins with the first frame and that the film should be doing a job at that point.
When I was younger, I definitely thought musical theater was sort of more pure than film. I used to say I'd never go to film because we had to get it right the first time in musical theater. But then, of course, I started doing film and realized I loved it. Keep in mind that I was 8 years old when I said that.
I had written three books [Games of Throne], at that point, and each one of them was better than the other. At a certain point, as the books were doing well, I started getting interest from Hollywood, from various producers and studios who were initially interested in doing a feature film. I met with some of those people and I had phone conversations with some of those people, but I didn't see it being done as a feature film.
What's the point of doing a great character in a bad film? Instead, I want audiences to thoroughly enjoy a film and remember my part when they walk out of a cinema hall.
I realized, because I've been doing these very small, character-driven movies, that this is entertainment. This is so much fun.
People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great; it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.
Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.
I've always said from starting off, 'I don't mind if I'm in a big budget film or a huge play or something small in London playing for 50 people, as long as I'm doing what I love doing for a living.'
I think the roles in television are better for women right now. At this point, I don't want to continue doing the same things I've been doing in film because it's very limited.
It wasn't just about doing films to be cool or to have people remember you for one film. I wanted to be proud of whatever work I did and if I wasn't learning anything or not enjoying what I was doing, there was no point wasting time.
I was always telling myself I could handle a more complex role, I could handle something bigger and more interesting than the work I was doing. But I wasn't demanding that of myself. At a certain point, I realized it was never going to come my way unless I started taking more control of it. That's what I realized I had to do.
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.
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