A Quote by Meera Menon

I always knew I wanted to make films, but just didn't quite know how to start. I was making little short films with my friends but I wasn't quite sure how to put those pieces together for myself.
In India, we always look at feature films as a progression over short films. But, abroad, people make a living making short films. The revenue might not be as much as in feature films, but the return on investment is good.
I don't make films, and because I don't make films, I'm not an expert in the craft of bringing a film into the world, how you put its various pieces together. But where I feel like I'm an expert is my own feelings in response to a film.
I've always been such a fan of short films - in fact, I never considered that I would actually make a feature. I just thought I wanted to make shorts for the rest of my life. They are a lot harder to have shown and a lot harder to find and see as an audience, but I don't know. It's just a form that I really love. I was just making them for the process, but ultimately, I did get them into festivals, and they did end up on television, and they had as much of a life as short films can.
If you're looking for reps, write letters that are short and professional. Make sure you have a really great reel of yourself. If there are friends you know who are making short films, do them - it's all material for your reel.
I was very focused when I wanted to make 'Dil Chahta Hai,' though it was difficult for me to convince people that I know how to make films and I will be able to direct and put a film together.
I started off making backyard movies. I think it began in fifth grade - I'd get the friends together and we'd make little home movies. I always wanted to make movies but I didn't know how. It was always something really fun to do.
You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.
I love French films, and European films. They're not any bigger, but there's just a sort of definition, and a confidence, and strength to them. I'd always, given the option, go and see a French drama. Obviously, we probably get the better ones. But they're just sophisticated on many levels, and grown up, and quite profound - and we don't make films like that.
I don't know how to make award-winning films; I'm a director happy in making masala films.
I was always raised on cowboy films, and then when I could start making choices about the movies I wanted to watch I found myself wanting to watch gangster films which were slightly more sophisticated than the baseline stuff that was in westerns.
I was frustrated because I couldn't get going, as I was trying to figure out how to make films. I had various jobs, I taught a SAT class, I was a bartender, I had a day job at an office and was making short films.
At one point, I got to work as an assistant for Martin Scorsese: He wanted to know about all the films coming out, so I would make clippings and put it all in a big scrapbook for him. I was also in charge of his video library - it was like a little video store, and his friends and colleagues would come and borrow films.
I started making little short films with friends, and then I decided I wanted to get into the school play in high school.
I've written quite a few things, but I've put it on hold for now to see how everything fits together. Then I'll approach it and write specifically to see how the pieces fit in the puzzle.
Sometimes films about oppression or suppression can be quite maudlin and quite dour. Sometimes you need a little sugar with the medicine and I think of myself as the little sugar.
I have fun making films. I love making films. It's the only thing I know how to do. And I do it well.
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