A Quote by Sameera Reddy
When I did Mira Nair's film on AIDS, people told me to stay away from it and even asked me reasons why I chose to do a film on the stigma. My reason for choosing the movie is similar. It is a social reality and there is no harm being a part of a movie like this as it really dissects the reality of the crisis.
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I think the fantasy of being a movie star is more powerful than the reality. So, for me, even if it's not a great film or a great play I'm doing, to know that you went for it. You had an experience that made you grow artistically and personally. What's really satisfying is knowing that you did a good job.
Most people look at a feature film and say, "It's just a movie." For me there is no border or wall between fiction and documentary filmmaking. In documentaries, you have to deal with real people and their real feelings - you are working with real laughter, happiness, sadness. To try to reflect the reality is not the same as reality itself. That's why I think that making a good documentary is much harder than making a good feature film.
It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridiculous, or like a parody of itself, or that it's not as good as something similar that was done in a previous film. What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive.
'Scary Movie' has lost its way as a franchise. It has turned into 'Disaster Film' and 'Epic Movie' and 'Date Movie' and that isn't what I wanted. I wanted to do a movie that was just grounded in a reality that went to crazy places.
For some reason, my main movie, Lady Sings the Blues, to me really isn't me. I really can let go of Diana Ross when I see the movie. I'm really objective when I'm watching it. I liked that movie so much. That movie was like magic so that when I'm looking at it I'm really not seeing myself, I'm seeing the actress. I'm seeing another person, not the me of me.
I had read Jhumpa Lahiri's 'Namesake' and thought it would make a fabulous film, as I could identify with the central character. When Mira Nair announced the film, I wanted to do the role. When it fell into my lap, I was over the moon.
A lot of people say, 'Wow, a movie on your life, isn't that exciting?' Absolutely, I'm blown away that God allowed me to do this but it's hard - watching the film and being a part of it.
Well consciously what we were doing when making the film was, we really wanted to make sure it was a film about - in our mind it was never really a sequel, it was its own movie going forward and it's why the movie doesn't have a number by it.
I like filmmakers where, if their film comes on and you step in halfway through it, you can recognize that, hey, this is a Coen Brothers film. Or, hey, this is a Stanley Kubrick movie. You can recognize some filmmakers. Like, if you put on a Sam Raimi movie, you can tell that it's a Sam Raimi movie pretty quickly. I like a signature style that people can recognize and relate to, and connect with. I think that is part of why we seek out certain directors. We want to see how they view the world.
'Thelma and Louise' was a pretty important film for me and still is. It's a social film about many things - gender, freedom - and it puts someone like me into the place of these protagonists. Watching that movie, you are living through the eyes of these women.
There are two parts of me. There's the really critical, film-nerd part of me that loves that, and then there's the part of me where I'm like, "I really didn't like that movie, but I want to work with that director because he loves actors."
Marketing does have a lot to do with the success of a film. But even more so, and especially since home video, I've learned that a movie has a life of its own. A movie goes out there, and it exists, and it continues. I'm always fascinated by what movie people bring up when they approach me.
When I make a film I'm always in reality among the trees, and among the people like yourselves. There's no symbolic or conventional filter between me and reality as there is in literature. The cinema is an explosion of my love for reality.
No, I chose the name Jane Seymour because I was doing my first film, 'Ode to Lovely War,' and one of the top agents in England spotted me dancing in the chorus. I was a singer and dancer in that movie with Maggie Smith, um, and he told me he couldn't sell me as Joyce Penelope Wilhelmina Frankenberg.
No, I chose the name Jane Seymour because I was doing my first film, 'Oh! What a Lovely War,' and one of the top agents in England spotted me dancing in the chorus. I was a singer and dancer in that movie with Maggie Smith, um, and he told me he couldn't sell me as Joyce Penelope Willomena Frankenburger.
I read James Joyce's short story 'The Dead,' and I love that movie for many reasons. It was the last film I made with my father, and it's emotional for me as well as a movie I'm proud of.
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