A Quote by Ginger Rogers
'Flying Down to Rio' established RKO as a leader in musical film production throughout the 1930s. The film helped to rescue the studio from its financial straits and it gave a real boost to my movie career.
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While I was making my solo films, RKO was busily trying to get me and Fred Astaire back together. The studio wanted to capitalize on the success of 'Flying Down to Rio' and realized that the pairing of Rogers and Astaire had moneymaking potential.
Phantom Films is an established production house and it will help to spread awareness about the documentary film 'Katiyabaaz' among the audience. I saw this film and I loved it. Then we decided to support this film.
There was no studio involved when we made 'Stargate.' It was financed through Le Studio Canal+ in France and, after the film was finished, it was sold to MGM. When the film was a success, MGM decided to do a television series based on the movie.
My second film 'Johnny Gaddar' got delayed because of financial reasons. The film was taken over by another production house and in the process we lost a year.
We have a wonderful film lined up early next year called 'Desi Magic.' It showcases me in a double role for the first time. This movie has offered me the most challenging role of my career so far. It's weird I chose to do my toughest film with my own production house.
'Beyond the Lights' took incredible fight to get made. Four years of writing and two years of overcoming 'no.' Every studio balked. Twice. But I kept fighting. What gave me the courage was 'Love & Basketball.' Every studio turned down that film, too. But I never gave up because I believed in it with my whole heart and soul.
I would love to have a varied career, like Hugh Jackman. He started in musical theater, then established himself in film, but he still does a lot of stage work. And he does it all beautifully.
Theatre worked as a big boost and improved my film career.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on 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 film critics could destroy a movie, Michael Bay and Adam Sandler would be working at Starbucks. If film critics could make a movie a hit, the Dardenne brothers would be courted by every studio in town.
What I will say - one thing that is attractive about getting a real film made within the studio system is that studio systems, with their marketing and distribution, have real power.
Sammy Davis Jr. was a real movie buff who loved nothing better than being around a film studio - whether he was working or not.
I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.
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 don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.
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