A Quote by Karthik Subbaraj

A short film is not a shortened feature film. It has a soul of its own. — © Karthik Subbaraj
A short film is not a shortened feature film. It has a soul of its own.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
I went back to Dallas for a little while to finish my short film 'Rusty Forkblade.' It was not the instant success I thought it was going to be. There's a false narrative that if you make a short film right after senior year, you'll be plucked out to make a feature length film, and the rest is history. I didn't do that.
I had originally written 'Pariah' as a feature, and we shot the first act as a short film, and then we used the short as a marketing tool to fundraise for the feature.
A gem of a short film has a sense of pure joy in animation that is different from anything you see in a feature film.
I think the power of the short film is incredibly underrated. It is way easier to get someone to watch a 15-minute film then a full-length feature. In those 15 minutes you have the opportunity to express your voice as an artist and hopefully connect with your audience. If you are trying to be a first time feature director then a short film that demonstrates you have a grasp on the themes and concepts of the movie you want to direct is a no-brainer. Whether they are collaborators or potential investors, filmmaking is a visual art form so you obviously need visuals to show them!
Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'
But it wasn't just a technical approach towards the piano, studying the music for this film was also a way of approaching the soul of the film, because the film is really about the soul of Schubert and the soul of Bach.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
I made a lot of short films before making a feature film. Actually, I learnt film-making by making short films.
Well I'm Superman, just not action. I'm kind of looking for something with a lot less action and more talking and listening. I also have a film that's premiering Vegas Film Festival, short film, directed by Joel Kelly, it's called Denial and it's a story, short film, 35 mm short film and it's about a man's struggle to choose between the woman of his dreams and his reality, so it's definitely different than Superman. So I'm really proud of that.
Even during my short film days, I approached theatres with the idea of playing them during the interval. They thought it was problematic to screen an offbeat short film in between a commercial film.
All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
It's a simple thing he [Frank Daniel] taught me. If you want to make a feature film, you get ideas for 70 scenes. Put them on 3-by-5 cards. As soon as you have 70, you have a feature film.
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