A Quote by Mani Ratnam
Within the mainstream cinema, I feel you can experiment and make sensible films. It's possible to tell a story with characters and emotions which are real, genuine, and which need not be over the top.
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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.
What I like about fairy tales is that they highlight the emotions within a story. The situations aren't real, with falling stars and pirates. But what you do relate to is the emotions that the characters feel.
Let me be very frank. I make films keeping within the mainstream and my cinema is popular cinema. I love it this way.
There's a fashion, or maybe you could call it a necessity, in French cinema to make social films, which is to say films in which the characters are defined by their social context.
I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.
That sort of detailed filmmaking is one, hard to do and not have it be pretentious, and two, have it tell the story, which is what you're taught, that cinema is the language of images and you really should be able to make a film with no dialogue and tell a story.
My style is the paparazzi approach which is spontaneous, unrehearsed, off-guard. The beauty I'm after is inherent, more natural. Genuine emotions, real emotions, that's what I look for.
I like stories that begin with characters. I like to be engaged and moved by the characters in the story. I want to be moved. I want to leave the cinema and think about what I've seen. My sensibility is quite eclectic and it doesn't matter if they are small or large films, I just want to make good films.
The quality of mainstream cinema has changed. A lot of independent voices feel they can leave everything behind and make independent films.
I don't know if you've ever seen some of the Sidney Lumet movies, like Dog Day Afternoon [1975] or Network [1976]. They're real events that happen in real time, and there are all of these different characters experiencing the same thing in different parts of the movie ... I am so bad at explaining my films. But it's in the world of finance and the world of media, and how they connect. It was a big undertaking. A big, mainstream movie, which stars Julia Roberts and George Clooney. But for me, it's really just a small story about character and people.
A message I've been telling myself: the cinema is very conservative, and unless you have a story that satisfies you, that is within the unchallenging zone, but you love it, you can't do it as cinema. Otherwise, you better go do it for television, which is more daring now.
I feel even old people can do a nice love story, but here we don't make that kind of films. In the West, such films are being made and they make a nice romance, which is more like compassion.
To meditate, you need to feel, and feeling is a lost art. You need to feel the stillness of existence and also the sound of existence. You need to feel that which lies beyond your awareness field, and that which is within it.
I want to try not to repeat myself. But then I seem to do it continuously in my films. It's not something I make any effort to do. I just want to make films that are personal, but interesting to an audience. I feel I get criticized for style over substance, and for details that get in the way of the characters. But every decision I make is how to bring those characters forward.
Were really trying to make Crisis as accessible as possible, which is extremely difficult to do because it involves so many characters. But, again, you dont need to know all the details. Obviously the mainstays are there Superman, Batman, Wonder Woman and heavily focused on. There are a ton of great characters, and a lot happens to them over the course of Infinite Crisis . Some change and evolve, others fall, but it really is about trying to bring everybody on stage. We probably have 90 percent of the DCU showing up, if not more but without losing focus on what the story is.
Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.
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