'Newton' is a very Indian film. I think, after a long time, people will see an Indian film in its true form. As in the story, the character, it is set in the heartland of India, but it's purely like how there was a time when Hrishikesh Mukherjee used to make sweet Indian films.
I used to copy looks from fashion ads in my mother's 'Cosmopolitan' magazines and steal her eye shadows.
I used to read a lot of fashion magazines: my favourite was 'Nylon.' I used to cut out all the pictures from magazines, and I had this book where I would keep all of the stuff that inspired me.
I used to be a film and music journalist, and wrote for different magazines in the 1990s. I still love music, but the experience destroyed my enthusiasm for film.
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.
If you want to do a film, steal a camera, steal raw stock, sneak into a lab and do it!
But in the Indian film industry, from the moment a child is born, he is taught music, he is taken for classical classes.
Be proud that thou art an Indian, and proudly proclaim, "I am an Indian, every Indian is my brother." Say, "The ignorant Indian, the poor and destitute Indian, the Brahmin Indian, the Pariah Indian, is my brother."
There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.
When becoming a character, you have to steal. Steal whatever you see. You can even steal from other actors' characterizations; but if you do, only steal from the best.
We need to give out portrayal of ourselves. Every non-Indian writer writes about 1860 to 1890 pretty much, and there is no non-Indian writer that can write movies about contemporary Indians. Only Indians can. Indians are usually romanticized. Non-Indians are totally irrepsonsible with the appropriation of Indians, because any time tou have an Indian in a movie, it's political. They're not used as people, they're used as points.
The white men despise the Indians, and drive them from their homes. But the Indians are not deceitful. The white men speak bad of the Indian, and look at him spitefully. But the Indian does not tell lies; Indians do not steal. An Indian, who is as bad as the white men, could not live in our nation; he would be put to death, and eat up by the wolves.
'Viceroy' is the first British film about the Raj and the transfer of power from Britain to India made by a British Indian director. It is a British film made from an Indian perspective.
If I'm playing an Indian in a Hollywood film, I won't do it in any funny Indian accent.
Having portrayed English-speaking Indian characters in British and American projects, I have always wanted to use my mother tongue in an Indian film.
Indian filmmakers sometimes twist the details and the mood of the film to give it the Indian masala flavor. This tod-marod in films is a rather big impediment.