A Quote by Mahesh Manjrekar

Personally, I might be all for parallel or experimental cinema, but when I'm making a film, I don't mind adding a commercial tadka. — © Mahesh Manjrekar
Personally, I might be all for parallel or experimental cinema, but when I'm making a film, I don't mind adding a commercial tadka.
Film festivals should also show commercial films along with parallel cinema. This is the only way that it could reach out to more people.
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.
I came from Hyderabad and didn't know the difference between commercial and parallel cinema.
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between.
When I get saturated by commercial films, I'll probably do another film like 'Siskiyaan.' But yes, as a viewer, I really enjoy commercial cinema; so obviously, as an actor, I would love to be a part of one.
I grew up on the commercial film format. I have grown up all my life watching films and they have all been mainstream commercial cinema.
I don't know about the public and the industry, but I am an all-time Sanjay Leela Bhansali fan. His cinema is completely stylized and commercial and yet hugely experimental.
I am the last person who has any judgement about any kind of cinema, least of all commercial cinema because I am a product of commercial cinema.
'Alemaari' is an experimental cinema of sorts. If audiences don't understand it, the film will fall flat.
There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.
With 'The Conjuring,' I really wanted to create classical cinema-style film-making, pure cinema as it were.
There is no safe zone now: whether it's commercial or experimental films, the audience wants content. Otherwise, they reject the film.
Making commercial cinema is very tough.
I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.
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