A Quote by Shoojit Sircar

A lot of expectations come from a Shoojit Sircar film, especially after 'Piku.' — © Shoojit Sircar
A lot of expectations come from a Shoojit Sircar film, especially after 'Piku.'
I have been fortunate that 'Pink' has been that film which gave my career a push. I owe a lot to Shoojit Sircar for having faith in me and my co-stars Taapsee Pannu and Amitabh Bachchan sir.
I had done a brilliant project with Shoojit Sircar, 'Shoebite,' but it never released.
The top Bengali directors in Bollywood know about me and the work that I have done. I have worked with everyone, from Anurag Basu, Pradeep Sarkar to Shoojit Sircar.
I really felt good after working in a film like 'Piku,' as many people could relate to my character. I got letters from my fans telling me how my character resembles to their grandparents.
'Piku' is not at all a film in the Bollywood kind of way.
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?'
If I fulfill YOUR expectations, how am I going to transform you? I have to DESTROY your expectations. I have to destroy the very mind that creates those expectations. If you come to me, never come with expectations, otherwise you will be disappointed - because I have no obligation to fulfill your expectations in any way. In fact, if I see that there are some expectations, I do things DELIBERATELY to destroy those expectations. That is the price you have to pay to be with me.
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.
When I made 'Vicky Donor,' people said it's not a family drama, it is for youngsters. But families also went and watched the film. Same happened with 'Piku' and 'October.'
'Piku' was driven by subtleties. Most films come with the padding of the sound, the visual, the drama.
The Limits Of Control is not surrealism, but it is an experiment in which expectations are deliberately removed: expectations for narrative form, for action in a film, for certain emotional content. We wanted to remove those things and see if we could still make a film that was a beautiful film experience, with deliberately removing things many people would expect.
After the modest success of my first film, I found it very daunting to have to live with that kind of burden of expectations.
I would have loved to do a film like 'Piku' or 'Neerja.' But I never got a role where a woman played an authoritative role. In my time, the hero and the villain were both men. The heroine was only the victim.
Women come into marriage with great inflated expectations for what they want this relationship to be, and men don't give it that much thought. Men come into it with reluctance about being capsized or trapped or whatever their fear is. When you check in later, women are disappointed because their expectations have not come to pass, and men are pleasantly surprised.
So many things have to come together to get a creatively successful and financially successful film. Sometimes you'll have a movie that you're very proud of, and you think it transcended all of your expectations, but it doesn't come out at the right time. I have done movies that have never been released. That can be depressing.
After my first film, I was having trouble finding a second film. I had a lot of attempts that failed.
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