A Quote by Karan Johar
I was swept by the narrative structure of film... you can create a world, you can destroy it, you can do what you want with it and serve it to people just the way you like.
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I want to photograph what I see and put it in a dramatic context. I'm an actor and a writer, and I want to tell these stories and present these shapes, colors and movements as I see them, as I see them serve a narrative. As I see that narrative serve an audience. That's what I want to do.
I'm interested in taking raw human emotions and then isolating them without any narrative structure. In order to achieve this, I try to break out of the narrative conventions that you'd see in a typical feature film.
When you're doing a film, narrative is your most important tool, but it's a tool to create a cinematographic experience, to create those moments that are beyond narrative, that are almost an abstraction of that moment that hits your psyche.
Writing for a film means the music has to serve the film, the narrative.
I suppose being the kind of creatures we [people] are, we like to censor the past, and are selective, or want to be selective about the things that we remember. If you want to destroy people, destroy their memory, destroy their history.
To me, money is a vehicle; it's a tool. I could use it as a weapon to destroy things or money can create-you can create an opportunity, you can create a charity, you can create things for your family, you can go do something for your family that nobody else would ever do. You can create educational opportunities, you can feed people overseas. And there's a tremendous leverage with money, or you can destroy people with it.
I don't think people want to look at problems. They want a continuous narrative, an optimistic narrative. A narrative that says there's a present and a future - and what was in the past no longer exists.
To reverse the effects of civilization would destroy the dreams of a lot of people. There's no way around it. We can talk all we want about sustainability, but there's a sense in which it doesn't matter that these people's dreams are based on, embedded in, intertwined with, and formed by an inherently destructive economic and social system. Their dreams are still their dreams. What right do I -- or does anyone else -- have to destroy them. At the same time, what right do they have to destroy the world?
I really just want to encourage and inspire people to use their freedom in a positive way and in a way that is inspiring to other people. I want to continue to pass down the seeds of change within the world. I think that it can start with just one person. Just like a rumor can get carried on, so can inspiration.
I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story.
For queer people, the personal is very political, just to talk about it in a public space. It's very political just to come out and take up that space and be like, 'This is my narrative. It's not an outsider narrative, and it's not a fetish narrative; it's just my story, and it's worth being told and listened to.'
I would want to create an amphitheater outside of California where I would play everyday, and then people would have to come to me. I would create all this crazy stage decor and film it. Or I would just stay inside my home and do films. I would be like the modern Maya Deren.
Well, I think if you're telling a story, a three act structure will just naturally emerge out of it. But I also love it when a film doesn't feel like it's anchored too rigidly to that structure and you feel like anything could happen.
I want the vetting to be solid. But I also want to bring these people in because not bringing them in sends a message, right, to the Muslim world and plays into the ISIS narrative and the Al Qaeda narrative, right, that this is a war between religions. And we can't have that.
Karma is like the vine that gathers strength through uninterrupted years, and which fastens its tendrils so closely that it is as strong as the structure to which it adheres. There is no way to destroy its power except by the separation of the parts, these parts renew themselves in other forms of life, but the structure is freed when its root is destroyed.
All of my plays have puzzled some people, and I'm happy to say delighted a few, but a lot of people have just not seen how quite to look at them. And this film... if you like my writing, you'll like this film. If you don't, you won't like the film. It's pretty faithful to - it's a pretty uncompromising presentation of my way of seeing things, I suppose.
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