A Quote by Neena Gupta

Films are a business. They take who's working. — © Neena Gupta
Films are a business. They take who's working.

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For myself, I would rather take less roles and be working on films that I'm passionate about, that are going to challenge me and that I'm going to be growing from. I don't ever want to take a movie just for the sake of working.
Everyone has different goals. For myself, I would rather take less roles and be working on films that I'm passionate about, that are going to challenge me, and that I'm going to be growing from. I don't ever want to take a movie just for the sake of working.
I like to think I'm making films in the film business where movies are making enough numbers for the studios to let me keep working, but you also want those films to have content that makes you proud you made the film. That's not easy, but it's a fun puzzle to figure out.
People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.
We've been working with the very best in the business. The studio really just let us alone to make the films.
I usually take up short films when I am not tied up with feature films. Short films are easier to work on... because it doesn't take much of your time. The number of shoot days are lesser as compared to feature films.
I make films about working class people. All my films have always been about that. For example, the brothel is a workplace. It's aberrant, but a workplace nonetheless. I was more interested as opposed to glamorizing and saying, oh, this is a great erotic place, it's a place of business. The commodity is sex.
Most of the people I know in the film business here in New York, the moms and the dads, just take different turns working. So everybody's a working parent, and nobody bats an eyelash at it.
The idea of working in films came after I passed class ten. I was planning to set up a restaurant and manage a business.
I love working with young people and young filmmakers, and I love working on first films. I think it's cool. It's fun. I just take it as it comes.
One day, I read an extremely vague ad looking for someone interested in working in film. Seeing as I loved watching films, I replied, and I found myself working for this guy who did his own personal editing of scenes from Antonioni and Fellini films.
I love making things, like software, and films, and laughter. And working with Gus Silber, to make the Funny Business book, has been a fantastic journey.
The toy business began to drive the [Lucasfilm] empire. It’s a shame. They make three times as much on toys as they do on films. It’s natural to make decisions that protect the toy business, but that’s not the best thing for making quality films.
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.
When I'm at home, I don't discuss business. I don't talk business. I don't answer the phone. It's just me, my wife, my children, my dogs. That's my world. We go out, take a ride in one of the low riders or something. Totally different person than when I'm working. But the work comes to some headaches.
There's more of a family connection when you're working on a TV show. That's not to say that you don't make great connections when you're working on films, but it's different unless you're there working every day.
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