A Quote by Michel Ocelot
I've never made films for children. That's why children like my films. Nobody wants to be treated as a baby.
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The single difference between films for children and films for adults is that in films for children, there is always the option to start again, to create a new beginning. In films for adults, there are no ways to change things. What happened, happened.
Under the current system, all children under 17 are treated equally. However, while some films may be appropriate for older children to see with parental accompaniment, some are inappropriate for younger children under any circumstances. This problem needs to be addressed.
Children, I always think, are just putting on a performance of being naive and not understanding anything. I have worked with children in films, and they're treated as adults and they just drop the pretense of being children.
I enjoy making films. I have made all kinds of films, including action films, romantic films, period films like 'Kala Pani.'
I grew up with Western films, and I always wondered why Bollywood never made films like that. Why do we always have to break into song?
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label. There's like, 18 different independent film-financing funds. In fact, I think the children of those films are getting made. A more interesting question is whether those films are going to get seen and appreciated.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
One of the head guys at Disney categorically said to me, 'We don't want to make children's films any more. We want to make films that are going to appeal to all quadrants.' Hence you have films like 'Shrek' and all the Pixar stuff, which is designed to suit everybody.
It is unintentional that I will do less films, it just happened that way. Like in 2000, I had a line of films signed but it all went for a toss. The films never got made... It just happens.
I never worked on different films at the same time. I made one by one. I never made two or three films together. This is impossible! I only have one head. It is impossible for me to think about two films at the same time. There are a lot of these legends about me, and I don't know why. I'm not a legendary man. But the people all the time say I make three films at the same time, and it's not true. Don't believe these kinds of things.
I made a terrible mistake. I got caught up in the excitement of the moment. I would never intentionally endanger the lives of my children. I love my children. I was holding my son tight. Why would I throw a baby off the balcony? That's the dumbest, stupidest story I ever heard.
My father ran London Films. He made films like 'The Red Shoes,' 'The Third Man.' And he had had a long career in the film business, which was bifurcated with a career in intelligence. He had to deal with gangsters, and sometimes he would take me with him. Also, I went to school with their children.
Not everyone wants to see children's films, comics, and supermen.
I made French films and other films and a lot of Arabic films, but what I like is English for myself.
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
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