A Quote by Satyadev Kancharana

I've known Venkatesh Maha since 2015 and we often discuss several things related to cinema and filmmaking. — © Satyadev Kancharana
I've known Venkatesh Maha since 2015 and we often discuss several things related to cinema and filmmaking.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You're taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that's real, that's really happening, and render this celluloid sculpture of this real thing. That's what really separates the power of doc filmmaking from fiction.
I did not have any inclination towards cinema. The atmosphere at home was not filmy, and we would never discuss anything related to films.
Often, as an interviewer, particularly when you're talking to highly visible people, celebrities, and it's known that negative things have happened, they don't want to talk about it, or you have to really work up to it. You have to carefully construct the conversation so that they feel open enough to discuss some of those things with you.
I am perfectly capable of writing things about myself that one doesn't discuss in polite company, but I was raised by people who said you don't discuss politics, you don't discuss religion, and you certainly don't discuss people's sex lives.
Never discuss Scientology with the critic. Just discuss his or her crimes, known and unknown.
I had this crazy trajectory. I went from literally living in a hostel in L.A. at the beginning of 2015 to shooting 'Stranger Things' at the end of 2015.
The same thing I did in 2013 is what I'm trying to do in 2014, which is continue to improve, continue to shock people. You know, I have several projects coming up between 2014 and 2015, and hopefully by 2015, I'll have another hour of stand-up material where I'll be able to go on the road and tour again.
Things have changed very much, several times, since I grew up, and, like everyone in New York except the intellectuals, I have led several lives and I still lead some of them.
Since I've been five, people asked me if we're related. It is usually the third question in the line of questions. What's your name? Sue Bird. Oh, what do you do? I play basketball. Are you related to Larry Bird? That's how it goes. I guess it could be worse, though, since he is a legend and all.
I meet the designers very often, we discuss the products, they show me their ideas, we discuss the ad campaigns and every new invention that we can find for the future.
At times doc filmmaking feels more rewarding creatively. Because you are creating something out of pure cinema - instead of narrative cinema, where you've got a script and a cast and you build from your foundation, whereas in documentary, you're building out of chaos.
Britain is blessed with a functioning political culture. It is dominated by people who live in London and who have often known each other since prep school. This makes it gossipy and often incestuous.
Each of us can discuss God inasmuch as he has known the grace of the Holy Spirit; for how can we think of or discuss what we haven't seen, or haven't head of, or don't know? The saints say that they have seen God, but there are people who say that there is no God. Clearly, they say this because they haven't known God, but this does not at all mean that He is not. The saints speak of that which they have truly seen and know.
Endless longing; a face you'd known since childhood, since birth almost; a body that moved as though it were your own. These were things you never spoke of, things you never hoped for; things you could never admit to. Things you'd die for, and die of.
I am a student of cinema, and I love filmmaking of all kinds.
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