A Quote by Milind Soman

I want to work with people who have new visions of cinema. — © Milind Soman
I want to work with people who have new visions of cinema.
Any cinema has to be entertaining. Boring cinema won't work. If you want to make one, then screen it for free on TV.
I don't want to be an art-house movie guy, where people who go to film school can discuss your work, but people who haven't studied cinema can't appreciate it. By the same token, I don't want to be the guy who's making this commercial pap that people lap up but that disappears the minute you leave the theater.
When I was younger, people were inventing a new way of writing - James Joyce, Hemingway, Faulkner. And I thought we had to find a structure for cinema. I fought for a radical cinema, and I continued all my life.
I don't believe that one has to tear down the cinema screen in order to renew cinema. But new input and new energy are lacking. They are flowing above all into the television technologies. We must, therefore, concentrate on the CD-ROM.
The film division at Amazon is made up of true cineastes who love movies and really want to try and provide opportunity for independent film visions to find their footing in a vastly shifting market. They love cinema.
The essay community should have hundreds of anthologies from hundreds of different perspectives that are constantly introducing us to new writers, new work, and new visions for our genre. The whole spirit of these anthologies is that there should never be a last word in how essays are interpreted or what they can be.
Some months ago, while I was preparing a new work, I told a young cinema executive my intention of including in a soundtrack two themes from Bach. But when he asked me which has been the last hit from that Bach?, then I knew that I had no longer place in cinema.
Without a doubt, I was born to want to make cinema, but the kind of cinema I want to make is not like commercial movies, which I enjoy myself, but I wanted to be the kind of filmmaker who wrote original work, sort of like a novelist would who deals with who we are and our times or our relationships.
The dreams and the visions of the Israeli founding fathers, these were very very ambitious dreams. They were world reformers. They wanted to create a new and improved kind of humanity, or at least, a new and improved Jewish society, a new and improved Jewish individual human being here. The whole Zionist project was based on a whole spectrum of different and even conflicting dreams and visions.
I decided to go to the cinema school because I thought it was a new sort of media. Nowadays, it's not anymore, but in the '50s, cinema had a half century of age. Today it's more than one century. I thought it was a new media, a new way of telling stories.
I love cinema and creating new things, but essentially, I am creating all this because I want people to see it.
It's more interesting to see new people on the screen when you go to the cinema. I don't want to see the same old faces.
I don't want to do films for money and go back. I want to try to at least change the world through cinema, the industry, the way cinema is conceived.
I am extremely proud that our cinema is being recognised in the West. I want Indian cinema to get its dignity, not by giving them the kind of films they expect from us, but by making cinema in a way that carries the legacy of the mainstream masters forward.
People are offering competing visions of what happened in the past. And the justice system is willing to accept either of those competing visions and to impose consequences as a result. When you think of it that way, it's a little bit startling, because we want to believe that there is one truth and, therefore, one justice, whereas, if you have practiced law as long as I have, you realize that there is actually a range of acceptable outcomes.
Nadunisi Naaigal' is new age Tamil cinema. I have tried to break the rules of regular cinema with this film.
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