A Quote by Jeetendra

I started out with V Shantaram. But my favourite director has been Gulzar, with whom I did intelligent cinema in movies like 'Khushboo,' 'Kinara' and 'Parichay.' — © Jeetendra
I started out with V Shantaram. But my favourite director has been Gulzar, with whom I did intelligent cinema in movies like 'Khushboo,' 'Kinara' and 'Parichay.'
I came to the cinema industry to become a director from the inspiration of Guru Dutt and Shantaram.
I started out as an assistant to a director on two movies, Miguel Arteta. The movies I worked on were 'Chuck and Buck' and 'The Good Girl.' I didn't even know I wanted to be a director until I started working with Miguel.
. . . you [film critics] always overstress the value of images. You judge films in the first place by their visual impact instead of looking for content. This is a great disservice to the cinema. It is like judging a novel only by the quality of its prose. I was guilty of the same sin when I first started writing for the cinema. . . . Now I feel that only the literary mind can help the movies out of that cul de sac into which they have been driven by mere technicians and artificers.
I started out doing commercials, like Diet Coke and Pizza Hut. And I started to find there was a different life for me, in a different field. From there, I got a call from a director in Italy, and we did 'Indio' I and II, and that's where it started.
First, you have to be intelligent. I have never met a successful director who isn't intelligent. A director who is not intelligent might have one hit picture, but he won't be able to follow it up. So I look for intelligence.
I started out in stand-up when I was 18, which is really masochistic, and I did it really till I started going in movies. I did it for about three years out in LA.
I think that what I learned then, I didn't know I was learning. I just knew that I was very privileged to see somebody who was a writer, a great poet, and very smart-faced. Suddenly Pasolini becomes a director, so he has to invent cinema. It was like watching the invention of cinema. But I found out that Pasolini taught me a lot. It was, especially, the kind of respect that he had for reality. He had kind of epiphanies in his movies, like when a moment becomes full of grace, and it is like as if it was the most important moment in the life of a character.
I like action movies, even though I think action movies are kind of derided now. But there is something extraordinary about action movies, which is absolutely linked to the invention of cinema and what cinema is and why we love it.
The movies I like are always movies where cinema is reinvented like if it was the beginning of cinema.
'Shantaram' is the second in the series of a quartet of novels that I have planned about my life but is the first to be written. The third book is a sequel to 'Shantaram,' the first a prequel.
Shantaram is the second in the series of a quartet of novels that I have planned about my life but is the first to be written. The third book is a sequel to Shantaram, the first a prequel.
Independent means one thing to me: It means that regardless of the source of financing, the director's voice is extremely present. It's such a pretentious term, but it's auteurist cinema. Director-driven, personal, auteurist... Whatever word you want. It's where you feel the director, not a machine, at work. It doesn't matter where the money comes from. It matters how much freedom the director has to work with his or her team. That's how I personally define independent movies.
I became a director just for the love of movies, because of the power of cinema.
When I started making movies, I was pretty young, and at the time I felt like there needed to be more confrontation in cinema - or I needed to make something more disruptive - so in the beginning, those movies were me wanting to play with the rules.
Any great director is also someone who is incredibly intelligent about whom they hire around them.
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.
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