A Quote by Imtiaz Ali
I have always tried to make profitable films because people's offices shut down if films fail, and I will do everything to avoid that.
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Actually, I can't stand watching violent scenes in films; I avoid watching horror films. I don't tend to watch action films mainly because I find them boring, but I watch the films of David Cronenberg and Martin Scorsese, usually in a state close to having a heart attack. I'm a complete coward. I make violent films as a result of my sensitivity to violence - in other words, my fear of violence.
Many people are under the delusion that I'm just a special-effects man, but I've worn many different hats in my day. On every film I've been involved in, I worked with the writer and producer. We really formulated those scripts. We tried to make films that were logical but still had the fantasy feel of it. I enjoy Aardman Animation's films with Wallace and Gromit, but they're obvious puppet films, whereas we tried to disguise it and make our effects characters in the films rather than obvious puppets.
Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
In India, we always look at feature films as a progression over short films. But, abroad, people make a living making short films. The revenue might not be as much as in feature films, but the return on investment is good.
In Punjabi, we make romcoms or just comedy films because that's what the audience wants. They want family entertainers. We've tried making action films, but there are no takers for that.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
The films that I loved growing up were the science fiction films from the late seventies and early eighties [films], which were more about the people and how they are affected by the environments that they are in. Whether they are sort of futuristic or alien of whatever they are; that was the science fiction that I loved. So that is what we tried to make, the sort of film that felt like those old films.
I think subjectivity plays into everything. It's unavoidable; you couldn't avoid it if you tried. I think, potentially, a lot more commercial movies, it seems to be that the people making the films are trying to elicit the same reaction. I think a lot of the most interesting work in art and in films are often kind of polarized opinions and affect people in very different ways, which may be less successful commercially, but they elicit a dialogue that's quite interesting.
Certain people like the way I make films, and others do not. I've come to terms with the fact that there's no other way I can make films. If I tried to do it in a different way, it would never work.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
I tried to make a list of films where there's two men and one woman and I realized there's films like this everywhere.
I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.
I like to work with people who want to make films because they are passionate about films and not because they want to sell films and make money. I am not for people who get the most saleable actor and then the most saleable director and sell the film.
When I studied with Nicholas Ray he was always telling us, "If you want to make films, watch a lot of films, but don't just watch films, go take a walk, look at the sky, read a book about meteorology, look at the design of people's shoes. Because all of them are part of filmmaking." So I thought, perfect! That's a good job for me.
If we make films only for the frontbenchers, we can't make money. Hence, we have to make it for a majority audience. As my films are mass films, I deal with emotions in raw form - they are not subtle. I don't mind being branded. That does not mean I like only those kinds of films.
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