A Quote by Gurinder Chadha
'Viceroy' is the first British film about the Raj and the transfer of power from Britain to India made by a British Indian director. It is a British film made from an Indian perspective.
Related Quotes
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.
If I'm in a gathering of filmmakers, I'm first and foremost a British Indian; if I'm in a gathering of British Indians, I'm a woman director. There are so many sides to who I am that I change all the time.
I first read the 'Raj Quartet' in the early 1970s, when Paul Scott's decision to set his novels in the dying days of the British Raj in India seemed an eccentric choice, almost as though he did not want readers. The British were tired of their imperial past.
Having portrayed English-speaking Indian characters in British and American projects, I have always wanted to use my mother tongue in an Indian film.
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 think now you see a lot more British films from the perspective of, I guess what would be considered "new" British people - people of color, Asian people. I think that's what's happening now, whereas 20 years ago it couldn't happen because it was still predominantly, "British film is about middle-class white families and what they do."
I know Im British. I havent spent much time in the U.K., but my parents are British, my family heritage is British, so if I wasnt British, what would I be? I am British.
I know I'm British. I haven't spent much time in the U.K., but my parents are British, my family heritage is British, so if I wasn't British, what would I be? I am British.
In the late 1930s, both the British and American movie industries made a succession of films celebrating the decency of the British Empire in order to challenge the threatening tide of Nazism and fascism and also to provide employment for actors from Los Angeles's British colony. The best two were Hollywood's Gunga Din and Britain's The Four Feathers...
There is not in the British empire a man who more cordially loves a union with Great Britain than I do. But by the God that made me, I will cease to exist before I yield to a connection on such terms as the British Parliament propose.
If you think about it, I made history. Not only was I the first black British woman to be nominated for an Oscar, I was the first black British person.
In this instance of the fire-arms, the Asiatic has been most improperly bracketed with the native. The British Indian does not need any such restrictions as are imposed by the Bill on the natives regarding the carrying of fire-arms. The prominent race can remain so by preventing the native from arming himself. Is there a slightest vestige of justification for so preventing the British Indian?
I have always thought we should think less about the British film industry as an entity, and more about getting British talent working.
Let's turn British inventions into British industries, British factories and British jobs. Let them make pounds for us, not dollars marks or yen for others.
My 22-minute film, which I called 'The Sword and the Flute', turned out to be a romantic film about India made by someone who had never been to India, but who already had very romantic feelings about everything Indian.
In England, the population explosion can be linked very clearly with the enclosure of the commons that uprooted the peasants from their land. In India, it was the same thing: the population increased at the end of the 18th century when the British took over and Indian lands were colonized. Instead of the land feeding Indian people it started to feed the British empire. So we had destitution. Destitute people who don't have their own land to feed themselves can only feed themselves by having larger numbers, therefore they multiply. It's the rational response of a dispossessed people.
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