A Quote by Gurinder Chadha

For British cinema to survive, you really need a British film culture, and it's got to start down there, with young kids watching films in the cinema - so they can be transported to a different world.
Well, I think by and large, certainly in terms of cinema, American culture dominates our cinema, mainly in the films that are shown in the multiplexes but also in the way that it has a magnetic effect on British films.
After 'The Gamekeeper' I made one other film called 'Looks and Smiles,' but making British films was very difficult. There wasn't a tradition of British cinema.
I got a chance to work with so many stalwarts from British cinema. Judi Dench, of course, who is a legend. Then there was my director Stephen Frears. He is the man who made some of British cinema's salient trendsetters.
I'm not coming from film school, I learned cinema in the cinema watching films.
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?'
British audiences are toughest on British films. So often, a British film is the last thing they want to see. If you please them, you really know you've made an impact.
My sense of cinema improved slowly as I started watching South cinema, got to know that cinema is much appreciated here.
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.
My production company wasn't doing well, so we were not producing films. Over a period of time, we have realized that we are going to produce our own films and make cinema that we like. We've got so much in-house talent, and my kids are going to be coming, so we all decided that we are going to be in films and cinema.
There's a difference between watching a film and watching a bit of cinema and enjoying a film as a piece of cinema.
I got exposed to art-house cinema and foreign films. I was from L.A., so it was a film culture that I didn't know about.
I like watching film, I go to the cinema, but a lot of times I go to see kids' films.
The education I received was a British education, in which British ideas, British culture, British institutions, were automatically assumed to be superior. There was no such thing as African culture.
The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn't.
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
Children of Men' reinforces what few would doubt, but which British cinema would seldom lead you to suspect: the British landscape bristles with cinematic potential.
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