A Quote by Philippe Petit
When art in general, and film in particular, succeeds is when it pulls you away onto a voyage. Then it's a good film.
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I know when I watch a film at this point, if I completely lose myself in the characters and the story and the world of the film I know that it's at least in my opinion, that was great. Otherwise I'm thinking: "Oh I know they were just doing A, B and C, right before they walked into the scene, then the camera was there, then they probably took the shot from this reverse close-up and moved it into this." When all of that drops away then I'm like: "Okay this was phenomenal, this was fantastic." I mean, any film or TV performance in general is probably good.
When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'
I do a film because at that particular moment, I want to make a film. It is my attempt at moving away from the ordinary.
If people get inspired by 'Baahubali' as a film, and they realize they can make a big film or a historical film which has good drama and good visuals, if they realize there are good stories to tell here, then it is good.
I think music videos in particular and film in general - it's really good at communicating tone and feeling.
There's a big link between trains and film. One of the first filmed objects was a train. The clickety-clack of the projector and the clickety-clack of the train are similar. There is the idea of the voyage - every voyage is a story. I wonder if film would have been invented without the train.
I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.
The novel succeeds on terms exclusive to literature. A good film succeeds on terms exclusive to the cinema. That's why so many bad novels can become good movies, like 'Jaws' or 'The Godfather.'
Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
If the film succeeds at the box office it is a commercial film. Otherwise it isn't.
The general view is that actors start on soaps and then maybe graduate to prime-time television or film; normally you don't see a film actor going to do a soap.
I've always had an interest in story-telling and history and just film and art in general, but particularly when it comes to storytelling, I think the reason why we became involved in film is because we wanted to get some great stories out there.
The better a novel is, in literary terms, the more you can't be faithful. The novel succeeds on terms exclusive to literature. A good film succeeds on terms exclusive to the cinema. That's why so many bad novels can become good movies.
To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
That's one of the great things about creativity. You labor away in a room, and when you're writing a film, it couldn't be more of a solitary activity or a lonelier job, but if you then write a film that gets made and goes out into the world, it kind of flies away from you. It's not yours anymore.
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