A Quote by Kay Kay Menon
Let's not betray cinema with marketing inside the film. If it's done outside, then it's ok. That is essential to integrity.
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I believe in cinema! Unfortunately, 90 per cent of Hindi cinema is non-cinema. Only marketing works here. Even the item songs in these films are an extension of marketing.
On the outside, America looks like this great melting pot, but on the inside, there's this segregation in American cinema. Why does a Latino film have to be for Latinos? Why is a black film just for black people? Why?
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
How many understand that Nature is the essential character of whatever is. It's something you'll find by looking not at, but in, always in. It's always inside the thing, and it makes the outside. And some day, when you get sufficiently proficient in understanding the use of the term, you can tell by the outside pretty much from what's inside.
I first came to cinema as a passionate filmgoer, when I was a child. Then, when I was a very young man, I became a film critic precisely because of my knowledge of cinema. I did better than others because of this. Then I moved on to screenwriting. I wrote a film with Sergio Leone, 'Once Upon a Time in the West.' And then I moved to directing.
I was then at the height of my two-facedness: that is, outside I seemed one way, inside I was another; outside false, inside true.
What comes from outside, one mistakes it as coming from inside. So many thoughts etc. move about outside in the universal - these manifest inside you. All these you must push away as foreign to you and the inside must be made peaceful, calm and quiet; then it will start descending from above.
Mainstream cinema exists in most large industries and then there is the alternative cinema which does not follow the conventions of the mainstream movies. But when your film is small and does not have A-listers, then you have a limited budget and it becomes hard to release your film.
Integrity starts from the inside out, not the outside in.
it is all the question of identity. ... As long as the outside does not put a value on you it remains outside but when it does put a value on you then it gets inside or rather if the outside puts a value on you then all your inside gets to be outside.
You are in integrity when the life you are living on the outside matches who you are on the inside.
Confidence on the outside begins by living with integrity on the inside.
Sometimes I have experienced at the start of a film you're very excited and enthusiastic and you've done all your preparation internally and externally and you start the film and it's all go... Then your attention goes somewhere else. Your energy goes into telling the story, so you don't have the same amount of energy to be objective, and that's okay because sometimes you become a subject of the story and you're inside it so much that you don't need to keep on looking on the outside.
Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.
We have no longer an outside and an inside as two separate things. Now the outside may come inside and the inside may and does go outside. They are of each other. Form and function thus become one in design and execution if the nature of materials and method and purpose are all in unison.
Things outside you are projections of what's inside you, and what's inside you is a projection of what's outside. So when you step into the labyrinth outside you, at the same time you're stepping into the labyrinth inside.
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