A Quote by Konkona Sen Sharma

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.
I haven't got the kind of films from mainstream cinema which I would have wanted. But then mainstream cinema has a different bunch of people who are happy working with each other, which is fine.
I was this classic film school snob who thought mainstream cinema was synonymous with bad cinema.
It's just odd that something as essential in life as sex has been flattened out in mainstream cinema - and in art cinema. Even in art movies, sex always seems to be treated negatively. Why does it always end in disaster?
I think Black cinema is thought of in small terms. That's where most of the problems come from. When there's a film that has success, like in the '90s with the crime hood films; when one of them does well, it becomes the replication, or there's a romantic comedy that breaks out, it becomes a singular way of looking at it.
Very rarely does a mainstream film push the envelope. A film that's so-called mainstream and questions certain norms, certain notions of morality, and gets away with it opens doors. It means the common man, the majority of the people, have accepted it.
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.
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.
The success of 'Dhruva' has given me more satisfaction than any of my previous hits, simply because the audience accepted the film even though it was experimental. I really hope this kind of acceptance makes experimental cinema the new mainstream cinema.
We can't keep thinking in a limited way about what cinema is. We still don't know what cinema is. Maybe cinema could only really apply to the past or the first 100 years, when people actually went to a theater to see a film, you see?
Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
I started as a short filmmaker and found that one of the toughest challenges was getting your film to be watched. I would enter it in competitions and release it online, but getting a mainstream theatre-going audience to view the film is difficult.
I am very grateful that the Russian budget has a yearly budget for film. And usually this budget goes to "auteur" cinema, which actually needs this support and which indeed contributes to creating "national culture".
I am extremely proud that our cinema is being recognised in the West. I want Indian cinema to get its dignity, not by giving them the kind of films they expect from us, but by making cinema in a way that carries the legacy of the mainstream masters forward.
As an actor, I am only excited about doing good work - be it in mainstream Hindi cinema, Hollywood, a French film, or a Marathi movie.
We are moving into a phase where what was once alternative cinema is becoming mainstream. I like being in that space.
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