A Quote by Kiara Advani
I was waiting for good films after 'Fugly' released. My second film was important. I kept waiting, and the period strengthened me. I would rather wait and do something worthwhile than take up bad films.
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So give up waiting as a state of mind. When you catch yourself slipping into waiting . . . snap out of it. Come into the present moment. Just be, and enjoy being. If you are present, there is never any need for you to wait for anything. So next time somebody says, “Sorry to have kept you waiting,” you can reply, “That's all right, I wasn't waiting. I was just standing
I truly believe that we each have a House of Belonging waiting for us. Waiting to be found, waiting to be built, waiting to be renovated, waiting to be cleaned up. Waiting to rescue us. Waiting for the real thing: a grown-up, romantic, reciprocal relationship.
I hate the waiting room. Because it's called the waiting room, there's no chance of not waiting. It's built, designed, and intended for waiting. Why would they take you right away when they've got this room all set up?
Mostly, I am waiting. Got to finish the edit, I am waiting. Dubbing must get over, I am waiting. Waiting for shoot. Waiting for the set. When you are waiting, your mind isn't relaxed enough to watch a film.
If we wait for conditions to go from good to perfect, we'll just be waiting, waiting, waiting.
I would ... go up to the mailbox and sit in the grass, waiting. ... Till it came to me one day there were women doing this with their lives, all over. There were women just waiting and waiting by mailboxes for one letter or another. I imagined me making this journey day after day and year after year, and my hair starting to go gray, and I thought, I was never made to go on like that. ... If there were woman all through life waiting, and women busy and not waiting, I knew which I had to be.
Waiting is a period of learning. The longer we wait, the more we hear about him for whom we are waiting.
In an old model, the way a film would imprint itself on the public's consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it's harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren't hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
The essence of a government health care system - for people who have never lived under it and don't know - is waiting, waiting, waiting. You wait for everything. You wait for years for operations that are routine in America.
I love doing short films because they're much more intimate and there's far less waiting around than on the bigger films.
I would not sit waiting for some vague tomorrow, nor for something to happen. One could wait a lifetime, and find nothing at the end of the waiting. I would begin here, I would make something happen.
Many people from the industry come up to me and say 'We don't see you onscreen much.' But where are the scripts? Do you think I am not sitting in my office and waiting for something like 'Matru' to happen to me? I would love to do four such films in a year.
The wish to disappear sends many travelers away. If you are thoroughly sick of being kept waiting at home or at work, travel is perfect: let other people wait for a change. Travel is a sort of revenge for having been put on hold, or having to leave messages on answering machines, not knowing your party's extension, being kept waiting all your working life - the homebound writer's irritants. But also being kept waiting is the human conditon.
I could have signed 10 films after 'Jai Ho,' but those films would have done nothing for me. I wanted to wait for the right project.
I often find in the film world, that it's very self-referring. If you talk to someone about films, they talk about them in terms of other films - rather than as something that happened to them in their life. And I'm really keen to get back to film as a reference to real things, not necessarily to other films.
I'm a filmmaker; I want to make films. I don't want to sit in a hotel room waiting to make films, and I can control my thing in Denmark; I can make the film I want to make... of course, I have to write a good script, all that, but if I do my job, it will happen.
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