A Quote by Sajid Khan

Cinema is my life and I can never make a flop. — © Sajid Khan
Cinema is my life and I can never make a flop.

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I remember going to the cinema to watch 'Blade Runner' when I was 14 or 15. It was a huge flop when it came out. The cinema was almost empty. I was blown away by it.
Life is bigger than cinema. Cinema is just a part of life, so I never take success or failure seriously.
For people to understand, you can't speak 'cinema.' Cinema doesn't have alphabets, so you have to go to the local language. Even in England, if they make a movie in London they have to make it in the Cockney accent, they can't make a film with the English spoken in the BBC. So cinema has to be realistic to the area that it is set in.
Hold'em - like life itself - has its defining moment. It's the flop. When you see the flop, you're looking at 71 percent of your hand, and the cost is only a single round of betting.
MORE CONSISTENTLY THAN EVER I WAS TRYING TO MAKE PEOPLE BELIEVE THAT CINEMA AS AN INSTRUMENT OF ART HAS ITS OWN POSSIBILITIES WHICH ARE EQUAL TO THOSE OF PROSE. I WANTED TO DEMONSTRATE HOW CINEMA IS ABLE TO OBSERVE LIFE, WITHOUT INTERFERING, CRUDELY OR OBVIOUSLY, WITH ITS CONTINUITY. FOR THAT IS WHERE I SEE THE POETIC ESSENCE OF CINEMA.
I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.
Never seek financial independence in independent cinema since independent cinema doesn't make money.
If there's one thing that can save the novel, it is to make it independent of cinema, to narrate in a way that cinema can never narrate, using to its benefit those particular characteristics which belong to writing.
The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn't.
Nonviolence is a flop. The only bigger flop is violence.
The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.
Cinema is empathy machinery, and we multiply our life experience through cinema. When it is good cinema, it almost counts as a personal experience.
In cash games, you're apt to see more players staying in to see the flop. If you have a hand worth playing, your best options are to either limp in or make a slightly larger pre-flop raise to build the pot and narrow the competition. A raise of four times the big blind should do the trick.
I have a kid and a husband and my family, and it's important to live the real life. I don't want to offer my whole life to cinema. It's only cinema.
Marcus Smart - I love playing against him because he takes defense as seriously as I do. I don't flop, though. People are always telling me I need to learn to flop. Nah.
Here was opportunity to make an audience walk and move, be sociable in a way never dreamed of by the rigors of cinema-watching, in circumstances where many different perspectives could be brought to bear on a series of phenomena associated with the topics under consideration. Yet all the time it was a subjective creation under the auspices of light and sound, dealing with a large slice of cinema's vocabulary.
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