A Quote by Mukul Dev
In the mid '70s when 'Sholay' released, people had never seen action like that - horses, jeeps, dacoits, fights on a bridge - it was all very new, and the movie set a benchmark.
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I didn't even know how to judge 'Die Hard 1.' It's not anything I know how to judge. I'd never seen an action movie. I'd never seen a Sly Stallone movie or an Arnold Schwarzenegger movie or a Charles Bronson movie. And that is the truth.
I was in school when 'Sholay' was released. I think recreating a film like that is a good idea.
Starting my carrer, I had three rules. I called a press conference and said: you can't kill me in a movie; I win all my fights in a movie; I get the girl at the end of the movie if I want her. They weren't about to hear that, and I knew that I would have to do that myself, but I set the public up and set the press up letting them know what I was going to do: continuing to sell the brand and image that I had.
As for Kate Bosworth, I've always admired her. I watched her in a movie called 'Girl in the Park,' which has never been released - not even on DVD. I had a copy, and it was bravura acting I had not seen from her.
I'm such an action movie junkie that as an action fan, because action scenes are so heightened, we could never really picture ourselves in that scene. So when you're watching an action movie, you experience an action movie more outside of the aquarium: you know you're out of the aquarium looking in at all the swimming fish that are in there.
'Death Sentence' really is a throwback to the '70s style revenge drama with moments of action. It's like a contemporary 'Death Wish' with a much more thriller style storyline, but the action scenes I shot very much in the style of '70s films like 'The French Connection.'
'Sholay' can and should never be remade. It is a classic, just like 'Mughal-e-Azam.' The magic which the movie created at that time cannot be repeated.
Revathi madam is a legend, and I have seen young actresses set her performance as a benchmark.
Maybe if I'd gone in younger, I wouldn't have had that feeling, but I've seen an enormous amount of changes since the early-'70s in how this stuff is shot. I did the first TV movie ever shot in 18 days; before this film the normal length of shooting a TV movie was between 21 and 26 days. We shot a full-up, two-hour TV movie in 18 days with Donald Sutherland playing the lead, who had never worked on television before.
'Brotherhood of the Wolf' is a very important movie because it represents something new. The director Christophe Gans came up with the idea of taking a French legend and making it some kind of really strange, almost Chinese action movie. The result is something that I haven't seen anywhere before.
The myth of independence from the mother is abandoned in mid- life as women learn new routes around the mother--both the mother without and the mother within. A mid-life daughter may reengage with a mother or put new controls on care and set limits to love. But whatever she does, her child's history is never finished.
I've witnessed first hand the impact the Benchmark team has had on new ventures, and I believe their commitment to the entrepreneur and dedication to building companies of lasting value really set the firm apart.
Ghost Team approached me. They said, "Hey, it's mid-October, do you want to go shoot a movie on Long Island for three weeks about stupid people chasing ghosts?" I had never done anything like that before. It's kind of a mock-horror movie. What I didn't realize was the whole thing takes place at night, as a horror movie should, and so I didn't realize that we'd be working until 6 in the morning every night, or morning.
Sometimes when you get on a new movie you kind of how to figure out the way other people work and it can be like being the new kid in high school where you're just trying to find out where your place is on the movie or on the set.
With the exception of 'Descent,' that was a very conscious thing to make an action or horror movie that was an all-female cast because I hadn't seen anything like that before.
It's always nerve-wracking; it's like going to a new school every time you start a new movie. There are so many people and you're trying to be comfortable and vulnerable on set in order to be fearless on camera. But it's fun, it's part of the job. You've just got to be very personable, I guess.
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