A Quote by Sayani Gupta
North-east films are still not on a national level. But 'Axone' is a mainstream film. I found the script very authentic and also very funny.
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Axone', of course, was on racism, but it was also a kind of representation that hadn't happened ever before of the Northeast and the people from there. It was a nicely-written script; it was funny.
Working with Chaplin was very amusing and strange. His films are so funny, but working with him, I found him to be a very serious man. Whereas the films of Hitchcock are macabre, he could be a very funny man to work with, always telling jokes and holding court. Of course, when I worked with Charlie he was getting older.
Usually the script is much more funny than the film turns out to be, in my case. The script is almost like a comic book but when you start making it, for some reason the film gets very serious.
There's a level where the themes of a film are very relevant to me and also the idea of finding out how relevant one genre is to another. I think that westerns and samurai films and superhero films have a lot in common. It's just that the scale of the visuals in tentpole films can sometimes overwhelm the drama.
What happens when I'm dealing with the problems in North Korea and the Middle East? Are you folks going to be reporting all that very, very confidential information, very important, very - you know, at the highest level? Are you going to be reporting about that, too? So I don't want classified information getting out into the public in a way that was almost a test.
All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script ,and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.
Slowly, very slowly, like two unhurried compass needles, the feet turned towards the right; north, north-east, east, south-east, south, south-south-west; then paused, and after a few seconds, turned as unhurriedly back towards the left. South-south-west, south, south-east, east.
I wrote and finished the script for 'Man in the Middle' two weeks after the September 11 bombing. It's a very American film about an ex-diplomat based in the Middle East, a leader in the U.S. administration who now sells used cars in the Middle East.
Any good movie or script usually, if they're doing their job, gives the highest platform possible for an actor to leap off of, and that script was very high up there. It was a very smart, tight script. There was a lot of improv, as well, once we got to the set, but a lot of the original script was also in there.
I like Taika Waititi a lot. I thought 'Boy' was a really wonderful film, had great resonance. Very sad but also very funny. I thought 'What We Do in the Shadows,' the vampire film, was fantastic.
Of course, there's always one theater that shows some kind of European film. Now, fortunately, you have DVDs, so it's possible to get anything you want within a few hours. In those days, it was virtually impossible to get Italian films, or German films, or whatever. So I grew up with very standard, mainstream films.
I found the people to be very kind and generous. It was unique because the crew was mainly Ugandan [filming The Last King of Scotland]. They had never done a film before. So, they were learning the process of making films, but at the same time they were also helping with the authenticity of the film.
There's that effect that is very physical, very down there at the synaptic level, which really means microscopic cellular level, but also molecular level, because all of those structures are operating on an electrochemical basis and so the changes there are very important.
I found it hard to express myself in the world. I was very shy. I'm still very shy. But also, when I was a child, I could get very... I had this violence... I still get angry. But I don't break things; I'm not hysterical.
But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.
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.
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