A Quote by Sanjay Leela Bhansali

'Devdas' isn't a real film. It isn't in the same genre as Mira Nair's 'Monsoon Wedding,' where the camera's presence is so understated it almost disappears. — © Sanjay Leela Bhansali
'Devdas' isn't a real film. It isn't in the same genre as Mira Nair's 'Monsoon Wedding,' where the camera's presence is so understated it almost disappears.
Salaam Bombay' and 'Monsoon Wedding' are the two Mira Nair films I go back to.
I don't think international cinema is ready to embrace mainstream Indian cinema unconditionally. Even Mira Nair's 'Monsoon Wedding' didn't get to the Oscars after being nominated for the Golden Globe Awards.
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.
It was only when I saw films in my early 20s by Jane Campion, Mira Nair, Sally Potter and Kathryn Bigelow, I started to think, 'Oh, it's possible.' I dared to suggest that I wanted to train to be a film director.
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.
My family is almost exactly like the one in 'Monsoon Wedding'. We are very open, fairly liberal, loud people.
My 'Devdas' was a tribute to all the mainstream masters, from Mehboob Khan, K. Asif, and V. Shantaram to Raj Kapoor. I am not saying critics shouldn't have criticised my film. But they should have judged the film within the genre and format that I had chosen.
I loved 'Monsoon Wedding' and 'Lunchbox' because they had 'real' stories. I wish there are more films made like them.
It gave me a lot of pleasure and pride that 90 percent of the crew for 'Monsoon Wedding,' and most of my film, are women. We get the work done, you know, much lesser play of ego... And I really believe in harmony, I believe in working in a spirit of egolessness and that the film is bigger than all of us.
Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.
We love genre, but in film if you make a genre film it has to all be about the genre. We were excited to be able to tell more complex stories on television.
I'm not limited by genre and it doesn't really matter what the genre is as long as the film is going to be new and have some real artistic integrity.
You know, my endeavour is to blend into the larger picture. That was one of the strengths of my acting in 'Monsoon Wedding.'
I think the war movie genre is a very important genre in film. Film gives you a visceral experience of something that you would never otherwise experience. To give the audience a real feeling of what maybe a certain kind of warfare would be like I thought was great.
Any genre as it's called, I think can be quite reductive in terms of what a film is, because I think there is an eagerness to put in any film, in anybody's work, to give it a genre title and I think as a consequence of that, the film starts to obey the rules of the genre.
Sometimes it hurts when I see my role being edited. But that wasn't the case with '15 Park Avenue... ' or 'Monsoon Wedding.'
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