A Quote by Shoojit Sircar
Even 'Piku' was quite an experiment in terms of storytelling because on the surface nothing happens in the film. If you ask me what was the film about, it was about father-daughter fighting and the narrative captured their daily life.
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Even if the film doesn't come out quite as you'd hoped, the process can also be very rewarding. I feel that way about a film called 'Lay the Favorite' that I made with Stephen Frears. I did that because the character was a real leap for me. The film doesn't quite all add up internally, but I feel very proud of what I did on it.
People ask me about fighting in real life and, honestly, it wouldn't look as graceful as it does in film and TV.
It is quite surreal having a film made about your life. The whole process of turning real life into drama is interesting in itself, but even more so when it is your own life being put into the narrative forge.
The film, 'Aftershock,' for me is really about how the minor problems in life that we think are so major ultimately mean nothing when a tragedy happens, when a real problem happens.
In narrative cinema, a certain terminology has already been established: 'film noir,' 'Western,' even 'Spaghetti Western.' When we say 'film noir' we know what we are talking about. But in non-narrative cinema, we are a little bit lost. So sometimes, the only way to make us understand what we are talking about is to use the term 'avant-garde.'
If you ask a filmmaker to analyse his own film, it would take three or four years to do that, honestly. Because when you make a film, you have to be convinced about it. You are married to that film for a year.
I have worked with Amitabh Bachchan in 'Pink' and 'Piku.' As soon as one film gets over, he is behind me, asking 'Which is the next film you are going to do with me?'
I have made all my films for my children with the exception of my first film because my oldest daughter wasn't born when I was making the film about the Brooklyn Bridge.
There is nothing real about film. Nothing. Even the light particles that project the film can't be proven to exist. Nothing is there.
When I make a film, I never stop uncovering mysteries, making discoveries. When I'm writing, filming, editing, even doing promotional work, I discover new things about the film, about myself, and about others. That is what I'm subconsciously looking for when shooting a film: to glimpse the enigmas of life, even if I don't resolve them, but at least to uncover them. Cinema is curiosity in the most intense meaning of the word.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
I think that's true of all cinema, that's why cinema is the great humanistic art form. Whatever the film is, it doesn't matter what the film is about, or even whether it's a narrative or figurative film at all, it's an invitation to step into somebody else's shoes. Even if it's the filmmaker's shoes filming a landscape, you go into somebody else's shoes and you look out of their lens, you look out of their eyes and their imagination. That's what going to the pictures is all about.
Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
What I liked about it is in the world of children, there are very, very different rules and a kind of naivete and innocence and sweetness that's been beautifully captured, I think, by this film as you can even see gesturing toward the film's poster on display nearby from this gorgeous artwork.
I think change is happening in ways we can't anticipate yet because the whole generation of viewers who are viewing films - film may not be the appropriate word in years to come. I'm excited about the possibility of new types of storytelling; that to me is less daunting. I'm excited by how we'll evolve with those formats thematically, tonally and in narrative.
People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great; it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.
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