A Quote by Priyadarshan

Realistic non-commercial films offer you a lot more liberty as a director than a usual film. — © Priyadarshan
Realistic non-commercial films offer you a lot more liberty as a director than a usual film.
'MSKS' is a commercial film with all the usual formula. But, as with my earlier films, there will be a strong social message.
It is a lot more difficult to make a typical Bollywood film than a realistic film.
The difference between working on Asian and American films is in the producer and director; everyone has their own style. But, Hollywood has a lot more money; they can spend a lot on films, and time. In Europe, there's a small budget and thinking about commercial. Only budget and taste is different between there and Hollywood.
I have done theatre, and I enjoy the process of smaller films a lot more. When I do such films, there are certain things which I get to do which are untapped. The scenes give me the liberty to play and mould the character in accordance to the director's mindset.
I have a problem with the present definition of commercial films. To me, 'Ghare and Baire' is an absolute mainstream film. There are also many films I have worked in that have been called art films by many. But I consider commercial.
I still make more money as I do as an actor than director, however I don't want to be a commercial director.
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
During the Blitz, a lot of shops had their windows blown in and put up notices saying, 'More open than usual'. I now declare this place more open than usual.
In an old model, the way a film would imprint itself on the public's consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it's harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren't hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
I've studied film a lot, so I know much more about film than music, but I don't think I could have made films.
I don't see myself as a short-film director, and I'm not a commercial director.
I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.
I don't think it's so important to be a movie director. It's a beautiful profession, but no more than to be a cartoon writer. A very rich cartoon writer. I've done a lot of films, and I know deeply that, in all of cinema, there is no director who is as good as Shakespeare.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
The State Film Authority will be there for film as industry only, as is the case in all the other states, except Victoria. Victoria is moving more now into supporting non-commercial films.
A strong film director does leave you to your devices. A strong director allows you to be free and you trust that he's there and he will tell you if you've gone too far. A strong director allows you to be much more experimental and take greater chances than a director who isn't secure within himself.
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