A Quote by Sidney Buchman
Riskin went into directing and made a film with Cary Grant which applied to the letter all the ideas which had made his comedies famous. It had everything except that little something - and the film was a failure.
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The truth is, I'd never seen a Cary Grant film. Since then I have watched his stuff and it's astounding, but I don't see any similarity between us. Except for the fact that I'm told he used to wear ladies' underwear, which is something I also do.
'Gandhi' was a well-made film but surely not my best. It had flaws, which I understand two-and-a-half decades after I directed it. I will never call it a propaganda film for the Indian Congress, but it could have been made better had I concentrated on certain minute details.
I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.
When I went to the cinema as a boy, when I saw a war film, I thought the general was the star, and that Cary Grant was an extra. I had no idea about the structure of film, but I loved going to the cinema.
It's the failure of my debut film which made me an actor, which made me want to succeed in the industry. But that doesn't mean I regret whatever choices I've made over the years. No, not even 'Kaiyethum Doorathu!'
My 22-minute film, which I called 'The Sword and the Flute', turned out to be a romantic film about India made by someone who had never been to India, but who already had very romantic feelings about everything Indian.
I did a little movie called 'Touch of Pink,' where I played a Cary Grant-type guy, which I thought was a lot of fun, and I thought I was moderately successful in my own interpretation of Cary Grant.
In any film business, if you're trying to get your next film made, you would never say, 'Oh, my last film was a cult film.' I'd say, 'Oh, great, well I hope this one isn't!' I always say to Johnny Knoxville, 'How do you do it? You sort of do the same thing we did, except you made millions, and I made hundreds.'
It meant that Diana had not waited for any explanation, however halting and imperfect, but had condemned him unheard; and this showed a much harder, far less affectionate woman than the Diana he had known or had thought he knew - a mythical person, no doubt created by himself. It had of course been evident from her letter, which made no reference to his; but he had not chosen to see the evidence and now it was absolutely forced upon his sight it made his eyes sting and tingle again. And deprived of his myth he felt extraordinarily lonely.
On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.
I wanted to be a playwright in college. That's what I was interested in and that's what I was moving toward, and then I had the lucky accident of falling in love with film. I was 19 or 20 that I realized films are made by people. Shooting digitally became cheaper and better. You couldn't make something that looked like a Hollywood film, but you could make something through which you could work out ideas. I was acting, but I was also conceiving the plots and operating the camera when I wasn't onscreen. I got very unvain about film acting, and it became a sort of graduate school for me.
Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.
I made this movie for $40,000, which was this little black-and-white horror film called Dementia 13, which we made in about nine days.
Howard Hawks said he'd like to put me in a film with Cary Grant or Humphrey Bogart. I thought, "Cary Grant-terrific! Humphrey Bogart-yucch."
I made films with my brothers and my cousins and if any of the films ever come to fruition my career will be in ruins because the acting, writing, and directing is so unbelievably, heinously bad. We once screened one for my grandfather, this film that we had painstakingly made over a couple of days when we were all 10 years old, and he sat there and he said, "This is the worst film I've ever seen." No sympathy whatsoever.
There's something magical about film, it's the ultimate for me, because it's kind of permanent - inasmuch as anything is. When I went to see Buster Keaton when I was about 14 and I came out of the cinema having really laughed at this film which had been made 50 years before, I thought: That's immortality. It's fantastic.
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