A Quote by Rohit Saraf
It's wonderful and reassuring to see 'Hichki' doing so well. When I got to know the subject and signed the film, I knew that we were working on an important and sensitive subject. I knew that we had a winner at hand. But as artists, we are always a little anxious about our work, that's just in our DNA, I guess.
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The subject matter that I am really spending my time on has become an acceptable subject matter. Living, lifestyle, family, is now in the forefront of interest in America, and I've just stuck with it. I mean, I've been doing this for years, and I never got angry. I never said, you know, listen, I'm fighting for this subject. That wasn't my point. My point was to continue working in a subject matter, knowing full well that finally it would be recognized as a viable subject once again.
I knew Chester. I've known Chester since 2001. I was in a band called Dry Cell, and we were signed by the same guy that signed Linkin Park, so that's how I knew him. He would come to some of our writing sessions and rehearsals; I'd see him in the studios that we were at.
My colleagues and I were always having the same conversation in the teachers lunchroom about books we wanted our students to read, a field trip we knew would really bring a subject matter to life... And most of us would go into our own pockets to buy just paper and pencils.
I knew de Kooning and I went to his studio so I knew about de Kooning's work. But only a little handful knew about it, you know. Maybe there were ten people that knew about it.
I had once believed that we were all masters of our fate--that we could mold our lives into any form we pleased... I had overcome deafness and blindness sufficiently to be happy, and I supposed that anyone could come out victorious if he threw himself valiantly into life's struggle. But as I went more and more about the country I learned that I had spoken with assurance on a subject I knew little about... I learned that the power to rise in the world is not within the reach of everyone.
On one hand you want to see your subject well. On the other hand, you want to be caught off guard to retain the spontaneity. If you know your subject too well you stop seeing it.
I remember once walking out hand in hand with a boy I knew, and it was summer, and suddenly before us was a field of gold. Gold as far as you could see. We knew we'd be rich forever. We filled our pockets and our hair. We were rolled in gold. We ran through the field laughing and our legs and feet were coated in yellow dust, so that we were like golden statues or golden gods. He kissed my feet, the boy I was with, and when he smiled, he had a gold tooth. It was only a field of buttercups, but we were young.
La Haine - first of all, it was the story of friendship. I was very close with Mathieu Kassovitz; he was somebody I met in the nights of Paris. And the hip-hop scene and all that... You know, it was very much about doing our own thing, and some of the subject matter was so close to what we knew and the people we were hanging out with.
Many have gone on to do important scientific work but all remember those wonderful times when we and our science were young and our excitement in meeting new challenges knew no bounds.
I had signed a four-film contract at the time of the first 'Deadpool' film. So I always knew that I'd be working in the subsequent installments of 'Deadpool.'
One of the first speaking roles I had was in a film called 'Svengali', with Peter O'Toole and Elizabeth Ashley. I was a waiter, and I had about three lines. And I was ready! I had been around people like that, and I knew they were just actors. All the work I had done, it was all there, and I felt like I knew all the mechanics.
I realized that most white Americans knew very little about our history and our struggle, and were having difficulty understanding the basis for our agitation and our resistance and our complaints. I also discovered that while black Americans had a sense of the beauty and tragedy of the journey from the time of slavery until now, we were not rooted in the specifics. I thought one way to familiarize people with that history would be through the voices of the great folk artists.
Cinematography was incredibly foreign to me, so I read as much as I could about it. Once I figured out that it was just photography with a set shutter speed, I got some slide film and I just went about storyboarding the script and taking snapshots. I took a ton of time doing it just to make sure I knew exactly what I was doing. By the end of it I knew what the film was going to look like - my exposure and the composition and everything. I wasn't scared of cinematography anymore.
Before I knew that I was Jewish or a girl I knew that I was a member of the working class. At a time when I had not yet grasped the significance of the fact that in my house English was a second language, or that I wore dresses while my brother wore pants, I knew--and I knew it was important to know--that Papa worked hard all day long.
Desire is a word I'm tired of. I've been living with that word for years. Yes, of course, we're all desiring machines. I have sometimes wondered what people would want, if there were no advertising. And death, what other subject is there? It's the subject. It's our subject. It's the great human dilemma, that we die and know we will.
What interested me the most was that when I [traveled to Europe] I knew what Joseph Beuys was doing, he knew what I was doing, and we both, we just started to talk. How did I know what Daniel Buren was doing, and to an extent, he knew exactly what I was doing? How did everybody know? It's an interesting thing. I'm still fascinated by it because, why is it now, with the Internet and everything else, you get whole groups of artists who have chosen to be regional? They really are only with the people they went to school with.
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