A Quote by Shoojit Sircar

I can't speak for other people but the budget of my films is super tight to an extent that people can't even imagine. — © Shoojit Sircar
I can't speak for other people but the budget of my films is super tight to an extent that people can't even imagine.
I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.
When we look at the budget, the budget is bad to a large extent because we have people that have no idea as to what to do and how to buy.
Skinny jeans and an extra big t-shirt. Ugh, I cannot stand that. It looks like an idiot: it's just proportionately wrong. And the super, super, super, super, super, super, super skinny jeans. I don't think you can get anything done when you're wearing clothes that tight.
People gravitate occasionally to the brilliantly made art low budget films, which is maybe one out of every five hundred low budget films made.
Alternate between short films, long form films, with or without stars, small budget or big budget films. Basically a filmmaker needs to be flexible.
It's a weird thing where, especially in jazz, you have to totally mention cutting sessions and people one-upping each other and people being super, super tough on each other. And out of it emerge these genius musicians.
This is a wrong notion that I work in big budget films. Infact, usually low budget films are offered to me, they come and say it's a good story but they don't have the money.
The play has to work for the super fans, and not speak down to them, and yet it had to play to those people who maybe had never read a Harry Potter book or seen the films.
People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.
At the end of the day, regardless of whether you're doing a huge budget film or a small budget film, you still want the film to do well, and have people see it. That's the whole point. You want to put some kind of message into your films, and you want people to see it.
People are piling into England, there's lots of studio films happening there. When we budget our films we multiply it by 1.55 it's much easier than when we multiply it by 2 so the cost looks a lot less in dollars, because everybody talks in dollars in terms of finance. And then the shift that I think is coming, I hope is coming, is movies made in a..."simple" is the wrong word, you visit movie sets all the time I imagine, the whole process has just got so big.
The truth is that I didn't start out making commercial movies. My films were not film festival movies with the possible exception slightly of 'Super,' but I was able to nurture my gifts through the works of artists making lower budget films that needed a place and an outlet.
When you meet people that you know from other films - as often happens to me, and as tends to happens to you when you're an actor, you constantly meet people that you've seen in other films. But when it's people who've kind of had a seismic effect on your life, it's quite extraordinary.
What writers do is they tell their own story constantly through other people's stories. They imagine other people, and those other people are carrying the burden of their struggles, their questions about themselves.
Obama found a lot of people that think just like he does, and he put them in the intelligence community. Can you imagine? When you think of the intelligence community, don't you think of super patriots, don't you think of people out there even risking their lives to defend and protect the Constitution and the people of this country and this country itself as founded? No. That's not the kind of people Obama put at the CIA.
I'm intrigued by people who are super adept at manipulating their own image. We all do it to a certain extent.
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