A Quote by Farah Khan
I always say a film should be given breathing space.
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The way that you are when you're allowed to be yourself is very different from when you're, say, being interviewed by Jeremy Paxman. You're never given the breathing space.
In music, what is very important is temporality of space and length, based on the breathing space the director gives the music within the film, by separating the music from various elements of reality, like noises, dialogues... That's how you treat music properly, but it doesn't always happen this way. Music is often blamed, but it's not its fault.
I think the context of an hour-long drama gives breathing space that you don't get in a film.
You should love something while you have it, love it fully and without reservation, even if you know you'll lose it someday. We lose everything. If you're trying to avoid loss, there's no point in taking another breath, or letting your heart beat one more time. It all ends...That's all life is. Breathing in, breathing out. The space between two breaths.
Breathing is meditation; life is a meditation. You have to breathe in order to live, so breathing is how you get in touch with the sacred space of your heart.
In any film business, if you're trying to get your next film made, you would never say, 'Oh, my last film was a cult film.' I'd say, 'Oh, great, well I hope this one isn't!' I always say to Johnny Knoxville, 'How do you do it? You sort of do the same thing we did, except you made millions, and I made hundreds.'
In film, you can create the illusion of time and space. People speak; characters reveal their feelings. You can use music, which informs how you should be feeling, and it carries you to the right emotional space.
Of men eternally dear! happy indeed
If you have breathing-space
From pain: blessed all the more
If death should heal you of the pain you fear!
Reviewers are entitled to say if they liked the screenplay, performance, and execution of a film or not. But when they say things like the film doesn't cater to a certain audience, it leaves people wondering if they should watch it.
I think her friends were worried that the bulimia might come back, about some psychological slide, and she was given breathing space to some extent by the media as much as she ever has been.
I start from one point and go as far as possible. But, unfortunately, I never lose my way. I 'localize,' which is to say that I think always in a given space. I rarely think of the whole of a solo, and only very briefly. I always return to the small part of the solo that I was in the process of playing.
Space, space: architects always talk about space! But creating a space is not automatically doing architecture. With the same space, you can make a masterpiece or cause a disaster.
I live in a constant state of gratitude, thankfulness, and appreciation for the second chance I was given, so anytime in any film, when that is given to someone, I always appreciate it.
You should let dialogue get as nearly out of control as you can. Characters should say what they say to each other instead of what they mean to say. The worst purpose of dialogue is to elicit information: "You know why we're out on this space station, Carruthers - to save the universe!"
It is false to speak of realization. What is there to realize? The real is as it is always. We are not creating anything new or achieving something which we did not have before. The illustration given in books is this. We dig a well and create a huge pit. The space in the pit or well has not been created by us. We have just removed the earth which was filling the space there. The space was there then and is also there now. Similarly we have simply to throw out all the age-long sanskaras [innate tendencies] which are inside us. When all of them have been given up, the Self will shine alone.
Hopefully each film can be given a musical voice of its own, which is not to say that the instrumentation is always unique, but that the relationship between the sound and the image is unique.
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