A Quote by Shriya Pilgaonkar
I look at a film as just a film; language doesn't really matter. I just don't want to limit myself to a particular language, genre or medium.
Related Quotes
I don't want to limit myself to a genre, language or a particular industry. I will do anything interesting that comes to me.
'Minari' was only eligible for the best foreign language film category due to the HFPA rules on language, so the film was submitted to meet these rules; there was no choice involved in the matter.
I definitely have moments in my life where I discovered a film, and the language of the film itself spoke to me in a way, as if someone came up to you and started speaking a language you'd never heard but understood and was able to express things the language you knew could not.
I don't want to limit myself to any genre or language or a type. I want to always surprise the audience and, hence, keep raising the bar for myself.
Language designers want to design the perfect language. They want to be able to say, 'My language is perfect. It can do everything.' But it's just plain impossible to design a perfect language, because there are two ways to look at a language. One way is by looking at what can be done with that language. The other is by looking at how we feel using that language-how we feel while programming.
Not only do I look at the playback with the actors, but I look at the on-set assembly footage with the sequences with my actors as well. These are the reasons why I take twice as much time to shoot a film in Korea. Thinking back, I remember on my first ever Korean film, I never used any playback or on-set assembly, so all I had to do was to tell myself it's just like making my first ever Korean-language film. After that, I felt right at home.
Any time there is a film in a 'foreign language,' in Spanish or Korean or whatever language, it's usually not an American film. It's usually from another country.
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.
I really want to do a film in another language. My dad's from Germany, so it'd be really cool to do a film in German. I'm not quite fluent, but I can get there. And my accent's pretty good. I wouldn't feel too out of my element.
I just would like to be challenged. I want to push myself to the limit, and constantly challenge myself and grow as an artist. That's where I want to go. Explore different things, different characters, in film, and just everything!
On stage, you're not limited at all because you're free in language: language is the source of the imagination. You can travel farther in language than you can in any film.
When you act, you want to emote and think in that language. I don't enjoy the process of doing a film in a language I am not good with.
The only way I know as a director is to figure out what the film is about. And out of the theme and the sense of what the film is about, all those decisions start to make sense. But to find that truth within it, you have to limit your possibilities and limit your choices. That's where this visual language grows out of.
I taught a master class in film in France, and that was a great experience because I got a chance to study the French film culture and the French film history, so to add... just to expand myself just personally and professionally was really helpful.
The wonderful thing about writing for theatre is you can go anywhere you want with the language. There are no limits. With film, they frown on language - it's always 'Too many words.'
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