A Quote by Radhika Pandit
I've always striven to ensure that I work on one film at a time.
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Now there's always exceptions to that and the reason is if the film doesn't really work, whereas before you could rely on a decent amount of DVD sales to prop up the revenue to ensure that you got out in a decent manner, now if the film doesn't work, the film doesn't work and there's none of that DVD revenue to fall back on and you can lose a huge, huge sum of money on a big budget movie.
To have failed is to have striven, to have striven is to have grown.
There's a reason why you attach the luck factor to your hard work. You work hard in every film, but there's always that one film that comes at the right time and does the best for you.
I don't really get stuck in a time warp where, if my film is a success, I have to keep partying till the next one releases, or if my film is a flop, I keep wallowing in sorrow until the next comes my way. My hard work in each film is always there.
Every time you work, it's a new film, and generally when you work with auteurs, people that write and direct their films, there's always an originality.
We are all affected by the time we are born into, and of course that feeds into your work. Society is based on storytelling - religious myths, opera, film - and 1968 was always seen as a time of rupture and fragmentation. I have always been interested in those words.
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.
I love Philip Glass' work, not only as a film composer but also as a musician. The film score work that he does always amazes and shocks me.
As an educator, I have always striven to see that the fruits of the American Dream are available to all.
Unionism, seldom if ever, uses such powers as it has to ensure better work; almost always it devotes a large part of that power to safeguard bad work.
I think the rejection - if it's taken in the right spirit, it can make you a better person. And I think that is what I've always striven for. If one thing didn't work out, a project or anything, it doesn't mean that I lose my own confidence. In fact, I give myself a lot more confidence and opportunities.
Personally, I think that the story is all-important; everything else comes later. But if there's any other way to ensure the betterment of the film, I always implement it.
There's a lot of great stuff on television and that's very appealing to actors who want to work, who do good quality and high quality work. But you're always concerned that the time demands on television will interrupt or interfere with your film work.
I have always worked well within the federal agencies to ensure New Mexicans have the resources and tools they need to succeed and cultivated valuable, bi-partisan relationships over my time in Congress in order to ensure continued full funding of New Mexico's state of the art national defense facilities and labs.
Conception of a film starts with the music. Always. I hear the movie before I can ever write it. I would say that 80% of the time, that's the successful stuff. It's the other stuff I have to work for to get right, and sometimes it doesn't work out, but the music is always the beginning. So I'm still a music journalist.
If I hear a film clip, or I happen to see some image from a film - you go to a film festival, and they show some clip of the movies you've been in, most of the time I sit there and go, "Oh God, I should have... should have... that was terrible." But I think that's a natural part of this work, because really, your work is never over. Of course I can leave it alone and walk off the set and never think about it again when it's done. But your work is really ongoing all the time.
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