A Quote by Gautham Menon

Nadunisi Naaigal' is new age Tamil cinema. I have tried to break the rules of regular cinema with this film. — © Gautham Menon
Nadunisi Naaigal' is new age Tamil cinema. I have tried to break the rules of regular cinema with this film.
There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema are exploring some really bold themes.
There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema, are exploring some really bold themes.
I love acting in Tamil cinema. I have decided quite consciously to do at least one good film every year in Tamil.
I prefer the Telugu film industry, as women are respected more than they are in the Tamil film industry. In Tamil cinema, they care only about their hero, who is God.
If you're going to break cinema, film, and movies apart, very rarely to you get the opportunity to even think that you've been a part of cinema.
Film is pop art. It's not whether it's auteur cinema or not; that's a false distinction. Cinema is cinema.
I was a young film student around the time of the new wave in film in the 1970s; old Hollywood was naff and over. For me, as a film student, I was going to see French and Italian cinema; American cinema was 'Easy Rider' and 'Taxi Driver.' Everything was gritty.
I have tried to show the influence of folk music in Bollywood, in Tamil movies, in Telugu cinema.
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.
The girls who come into Tamil cinema today are educated and from well-to-do families. Unlike the actresses of my generation, they do not need cinema for survival. We cannot write a small role - dead cast, as I call it - and expect them to be excited.
We can't keep thinking in a limited way about what cinema is. We still don't know what cinema is. Maybe cinema could only really apply to the past or the first 100 years, when people actually went to a theater to see a film, you see?
I decided to go to the cinema school because I thought it was a new sort of media. Nowadays, it's not anymore, but in the '50s, cinema had a half century of age. Today it's more than one century. I thought it was a new media, a new way of telling stories.
Most cinema is not about images but text. Why on earth have we based cinema on text? Why can't we break that umbilical cord? Why do we have to pollute cinema?
For people to understand, you can't speak 'cinema.' Cinema doesn't have alphabets, so you have to go to the local language. Even in England, if they make a movie in London they have to make it in the Cockney accent, they can't make a film with the English spoken in the BBC. So cinema has to be realistic to the area that it is set in.
I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'
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