A Quote by Shweta Tripathi
My goal is not to make a 100 crore film but a film which has got content.
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It's not necessary that every film has to hit Rs 100 crore box office, or the Rs 50 crore budget. If the film makes double of its project budget, we consider that a hit, and that also means that the film is in profit.
I cannot put pressure on myself that I have delivered a Rs 100 crore film and now I have to give it again or it will not be successful. Films that earn Rs 50 crore or Rs 60 crore are successful, too.
'Soorma' was made on a budget of 22 core and we don't expect it to do a 100 crore business, but it has definitely earned respectable numbers. It's a more performance heavy film with a great story and content.
I would never want to do a content-driven film with a box office life of Rs 20 crore.
As 'Ready' did 100 crore-plus business, we will continue to dabble in film production in a big way.
'Dasavatharam' is science fiction, a multi-crore budgeted film worth Rs 50 to 60 crore and ahead of its time.
I have been part of really good projects which I'm extremely proud of and 'Chhichhore' will stand tall among my body of work. This is my first Rs 100 crore film and I know I will cherish this moment always.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
The film festival is in a town in Arkansas, a quintessentially American town with a little town square. It's to champion women and diversity in all media, so TV, movies, eventually, digital, whatever you get into. That's the goal. We're using the same philosophy as my institute, which is to make it research-based and really try to work directly with filmmakers and content creators and move the needle. It's the only film festival in the world where the prizes are guaranteed distribution.
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.
As soon as a big amount is involved, the producer looks for a bankable face. No producer will make a Rs 20 crore film starring Rajpal Yadav and Johny Lever, as we cannot pull an entire film on our shoulders. Yet, we do get roles.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
You don't set out making a film that will rake in 100 crores; you just want to make a good film.
I think a lot of people go into filmmaking thinking, "How can I make a career?" And so when they make their first film, they make it thinking, "Well, this'll be the one that gets me to the place where I can make the second film the way I want to make it, and that'll get me to the place where I can make $100 million on the third film." And I thought, "Well, if I put sustainability at the bottom of my priority list, then what opportunities is that going to free me up to pursue?" And that's what I've always done.
You can be accepted in a film which is amazing, and the same person can be rejected in another film whose content does not resonate with people.
This is my life... I mean, maybe I have Rs 100 crore in the bank, sitting comfortably. If that increases to Rs 10,000 crore, what difference does it make to me.
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