A Quote by Diljit Dosanjh

For the production of 'Jodi' I have joined hands with Amrinder Gill, but he would not be seen on the screen for this film. — © Diljit Dosanjh
For the production of 'Jodi' I have joined hands with Amrinder Gill, but he would not be seen on the screen for this film.
I think one of the reasons younger people don't like older films, films made say before the '60s, is that they've never seen them on a big screen, ever. If you don't see a film on a big screen, you haven't really seen it. You've seen a version of it, but you haven't seen it. That's my feeling, but I'm old-fashioned.
Eventually, the outcome of a film is not in my hands. What I do while making the film is in my hands, and that is what translates onto the screen.
Like Narendra Modi-Amit Shah's jodi in Delhi, Sanjay Tandon and I have a jodi in Chandigarh.
It is not as though the process of production holds any mystery for me, I know exactly what it involves and I know the predominant concern in shooting one of those things is production values - or as they would say, seeing it all up there on screen.
Rajkumar was the winner of 'Naalaya Iyakkunar Season 2,' and I was impressed with his short film. He joined me as an assistant when I started the pre-production work for 'Vada Chennai.'
If I hear that a film of mine is going to be shown on a big screen somewhere and I haven't seen it in a while, I make a point to get to see it. I just want to see it up on the big screen.
My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.
Film is a game of projections upon projections, and the projected image on the screen is a game of light and shadows. There is nothing there; it is the brain that is decoding those things. The film doesn't have any decipherable kind of meaning if it's not seen.
When I was 18 years old, I had never before seen Australian film on the big screen.
I think it would be really fun to film a drama in a foreign country. If the opportunity presents itself, I want to film a Chinese production.
Now I know that however big a film, you have every right over how you want to be seen on screen.
I just think Australia tends to make very good movies, so if someone hands me an Australian or an American film script I would guess the Australian film would be more intriguing.
A large part of my filmmaking self has to do with my love of being in the cinema audience, and my relationships to what I want to see on the screen, what I have seen on the screen and what I don't want to see on the screen again.
I'll remember this to my grave. We all walked into a room to see the screen tests. The first screen test was Marion Hutton's. Then came Janis Paige [who ended up with a part in the film]. Then on the screen came Doris Day. I can only tell you, the screen just exploded. There was absolutely no question. A great star was born and the rest is history.
Mass production is nothing new. Weren't cathedrals built through mass production? The pyramids?... Paintings can be painted with the left hand, the right hand, someone else's hand, or many people's hands. The scale of production is irrelevant to its content.
I was so besotted with '8½' that, when it was on TV, I used to take pictures with my 35-mm. camera of the frames of the film. That was the first time I'd ever really seen Italians on screen.
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