A Quote by Kumar Sanu
The film producers have to understand that melody is the base of Indian music - they have to come back to that. Else, we'll have short lived chart toppers which dim on public memory that moment the film if off screens.
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I've done a lot of independent film, which are short shoots that are usually four to six weeks, max. I enjoy everything. After one particular experience of work, I like to go in the opposite direction and do a short film, or something else.
Yes, TV is the dominant medium in Pakistan, but it was a conscious decision to have an Indian film as my first release. Being launched in an Indian film with a great script, character, and music is half the battle won. The rest is destiny.
I'm still not ready to come back and 'And Once Again' is just a one-off film that I'm doing. It's not my comeback film.
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.
When 'Pizza' released, I was a nobody. Initially, we managed to get only 100 screens. But, after its success, the producers of 'Naduvula Konjam Pakkatha Kaanom' got 150 screens and also released the film in the U.S. Now, distributors are keen to invest in my films because they feel I have face value.
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.
But in the Indian film industry, from the moment a child is born, he is taught music, he is taken for classical classes.
Film maker Andi Olsen has a wonderful short film called Where the Smiling Ends. She waited at the Trevi Fountain in Rome and filmed the tourists only at the moment after their photos had been snapped, the moment their smiles dissolved. It's genius and heartbreaking. I think about her film when I explore the places the strips malls meet the wild world they are eating up.
If Richard Wagner lived today, he would probably work with film instead of music. He already knew back then that the 'Great Art Form' would include a sort of fourth dimension; it was really film he was talking about.
'Darkest Before Dawn,' the short film, is basically the film of a man who faces the darkness when his back is against the wall and just about how miracles come in all forms, and even in your darkest times, it comes.
In a film like 'Kannathil Muthamittal,' I can't have a Rajnikanth or a Kamal Haasan. If you have a star, the expectation of the film is different. So, you cast according to the subject of the film. Some films are best done with stars because it gives you a base on which if you can get the correct performance, you can reach higher.
Talent has no gender. People are hiring young male directors right out of film school, off of a student film or off of a film at Sundance for millions of dollars. You can do the same with a female. It's not a risk about the work if you respect the film that they made.
If you understand each other's way of thinking, you understand what kind of film someone is trying to make, and all the ideas that I come up with will fit into that film.
So I feel a responsibility to help first-time film-makers in Brazil, but also to increase the dialogue between film cultures which are really wonderful and so much closer to us than what we do see on our screens.
'Gandhi' was a well-made film but surely not my best. It had flaws, which I understand two-and-a-half decades after I directed it. I will never call it a propaganda film for the Indian Congress, but it could have been made better had I concentrated on certain minute details.
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