A Quote by Sanjay Leela Bhansali
What's life without risks? When I made 'Hum Dil De Chuke Sanam,' everybody said in India you can never have a husband say that I am uniting my wife with her lover. The male audience would reject it, and it is a male audience and hero-oriented industry.
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What upset me was that after 'Saawariya,' which came after the awards and rewards of 'Hum Dil De Chuke Sanam,' 'Devdas' and 'Black,' I was written off, almost hounded out of the industry.
'Devdas' is the first Hindi commercial film to be seen at Cannes. And 'Hum Dil De Chuke Sanam' is getting a whole lot of appreciation abroad. I'm pleased.
The first film I watched was 'Soldier,' and then 'Hum Dil De Chuke Sanam' and 'Bade Miyan Chote Miyan.'
The action genre is kind of designed for a young male audience. But we found on 'The Matrix' that we hit the Valhalla of movie making, which is the four quadrant audience - the young male audience, the older male audience, the young female audience and the older female audience.
I think every industry is a male-dominated industry. Whether it is Tollywood or Bollywood or India as a whole, it is male-dominated. We stay in India, and it has been patriarchal society.
A tendency for the male perspective to dominate responses to films, whether that's commissions or how a film is presented in the world. The market is used to a male voice and a male audience, which it feeds
No one watches 'Taxi Driver' and says, 'Oh, it's a male-oriented film.' No one looks at nine-tenths of the films out there that are headlined by men and say, 'It's a male-oriented film.'
The dumber half of the audience - whether they're male or female, and a lot of them are male - for some reason responds very quickly to the feminine voice. How can I put it? They kind of instantly react to the female voice in a positive way quicker than they would the male voice.
I don't think a heroine-oriented film has the capacity to pull an audience like a hero-oriented film in any film industry.
The Russian male audience, they loved 'Knockin' on Heaven's Door,' and they like my comedies, but the Russian male audience is action, action, action.
I don't only cater a film to the male audience but also the female audience.
In ancient times, people weren't just male or female, but one of three types: male/male, male/female, female/female. In other words, each person was made out of the components of two people. Everyone was happy with this arrangement and never really gave it much a thought. But then God took a knife and cut everybody in half, right down the middle. So after that the world was divided just into male and female, the upshot being that people spend their time running around trying to locate their missing other half.
During the years I was on the board of directors of the National Organization for Women in New York City, the most resistant audiences I ever faced in the process of doing corporate workshops on equality in the workplace were not male executives - they were the wives of male executives. As long as her income came from her husband, she was not feeling generous when affirmative action let another woman have a head start vying for her husband's (her) income.
We are able to speak for ourselves through our music rather than being defined and put into the spotlight in a very male kind of groomed way for an obviously predominantly male audience.
I can say, 'Well, I'm a male. I'm a male human. I'm a medical doctor. I'm an author...' If I go to a religious point of view, I will say, 'I am a soul. I am a spirit.' If I go into science, I will say, 'I am energy. I am light.' But the truth is I have no idea what I am.
The film industry is driven by male narrative. Heads of studios are often men, teeming with male executives everywhere you look, and so the narratives we have the screenwriters usually for male leads. Women tend to be second string: the girlfriend of, the secretary who becomes.
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