A Quote by Shoojit Sircar
Once the censorship board clears a film, there should not be any other obstacle for a film's theatrical run.
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When I started, every film got a full theatrical distribution. Today, almost no low budget films, maybe two or three a year, will get a full theatrical distribution. We've been frozen out of that, which means they must be aware that for a full theatrical distribution it either has to be something like Saw or some exploitation film of today or an extremely well made personal film.
African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.
Censorship is a stupid thing. There should be certification, and not censorship. People are smart enough to understand that if a film is meant for kids, then kids will watch it and if a film is meant for adults, only adults will watch it.
Film is a much lonelier process than theatre. You really don't have any rehearsal time in film. You don't shape it together... with theatre, there is a complete kind of family atmosphere. The sociable side of this business is the theatrical side, it really isn't the film side.
I didn't watch any films. This film, The Proposal, had it all in the script. Once all the pieces, once I met Anne Fletcher and I knew what she wanted and that we wanted the same things, and once they said Ryan Reynolds was on board and once the casting came together, you saw what it wanted to be.
In an old model, the way a film would imprint itself on the public's consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it's harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren't hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.
Film is limitless, but some stage presentations on film can look too theatrical.
A certain kind of film is a big theatrical film and a certain kind of film isn't. It doesn't bother me so much that you can pick your format.
There shouldn't be any censorship on making a film.
A family film is a very particular and explicit form. Family films typically include adult principles that are moral, but they should be as intelligent, funny, and intriguing as any other film.
I think for a film that has real theatrical potential a sales agent is key. For a film that may find it tougher in the American marketplace, such as many of the docs in the world competition that may not be competing for deals - any subtitled film has a harder time in this marketplace - for those films I don't know that a sales agent necessarily helps for the kinds of smaller deals that may or may not be offered.
I'd like to do a film in Canada, but it's too difficult. National Film Board funding takes too long, and there's too much paperwork; by the time the film is approved the topic is dead and gone.
It always surprises me when I see the director's versions of films released separately, long after the film's theatrical run.
I think personally that every actress should do a little film. Even a short film. And all directors should act, to know how difficult it is also the other way around.
I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.
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