A Quote by Saqib Saleem
I don't think it's right to define films as commercial or art house. What's important is that a film evokes a certain emotion when it's being watched.
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It is said that anyone who does commercial cinema is not acting, and anyone who does an art film is acting. I don't believe it. I feel whenever you are doing a film, you are acting. So you need to be applauded for that. I won't do art house cinemas. I want to make commercial films. I want my films to make money.
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
I have a problem with the present definition of commercial films. To me, 'Ghare and Baire' is an absolute mainstream film. There are also many films I have worked in that have been called art films by many. But I consider commercial.
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.
Basically, I have always wanted to have an art-house cinema. A cinema where we can show films that are not necessarily the current offerings on circuit and films that are not commercial.
I'd rather do anything than make commercial art. I didn't go to school for art. Making art has certain advantages for me but they would never be in commercial direction.
Art evokes emotion. It doesn't have to be a thing of beauty.
My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way.... People mistake the character of line for the character of art. But it's really the position of line that's important, or the position of anything, any contrast, not the character of it.
There was a year between school and getting going as an actor when I basically just watched films. Video shops were the new thing, and there was a good one round the corner and me and my brother just watched everything, from the horror to the European art-house.
My forever mission is to take the best elements of both commercial and independent films and bring them together. I learned so much about the art of independent films and I have so much fun in commercial ones. I think that a mix of both is good.
A film like 'Shirdi Sai' caters to the family audiences, while 'Rajanna' evokes patriotic sense in viewers. 'Damarukam,' on the other hand, is a full-length commercial film made for the masses.
I think when I got drawn to film, I didn't know it was a business. I mean, like most filmmakers, I probably saw more films than a lot of people when I was a kid. But I watched them on TV as well. I was no purist about it. I spent lots of time in movie theaters, but I also watched a lot of films on TV.
In documentary films, being able to be a storytelling and embrace film as an art form - while being very clearly connected in trying to help make the world a better place - is really important to me.
If I'm doing something on stage, and it evokes an emotion, then I might show that emotion, but I also don't believe in being a preacher. If you have a point, that's a bonus. But the funny has to come first; otherwise, you shouldn't call yourself a comedian.
Whatever experimental film aromas cloaked my movies were because I'm a gleefully clumsy, primitive filmmaker. I really like traditional pleasingly narrative films, but I also just couldn't resist throwing in the disruptive. It seems to me that art-house film is at its glorious zenith right now, maybe it can even get better? There's just so many good films, you know Cemetery Of Splendour, Arabian Nights, Miguel Gomes, just so much great work coming out.
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