A Quote by Sobhita Dhulipala

Every time I decide not to do a commercial film, a masala film, I'm closer to myself. — © Sobhita Dhulipala
Every time I decide not to do a commercial film, a masala film, I'm closer to myself.
What is a commercial film? I think every film is commercial, as every film makes money.
To be a film director is not a democracy, it's really a tyranny. You're the head of the project, for better rather than worse. I write the film and I direct the film, I decide who's going to be in it, I decide on the editing, I put in the music from my own record collection.
At the time I left film school there wasn't a lot of hope for young film-makers. It was a calling card of film school to be quite slick and commercial, which might lead to getting some stuff on telly.
I'm dying to do a masala Bollywood film with typical song and dance. But having said that, my character in the film should have her own point of view. I won't play a role who has no brains.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
I don't attribute any 'luck' to 'Bol Bachchan''s success. It was an entertaining commercial film which was bound to do well, and I guess I have the knack of picking up such universally appealing, fun masala movies which turn to be successful.
The audience loves watching masala films, and I love to make what the audience likes. I also think it is easy to make a masala film.
Even during my short film days, I approached theatres with the idea of playing them during the interval. They thought it was problematic to screen an offbeat short film in between a commercial film.
I do enjoy filming, but I do consider myself still to be a bit of a novice, and I learn a bit every time I do a film job, and I am very admiring of film actors.
Every single Pixar film, at one time or another, has been the worst movie ever put on film. But we know. We trust our process. We don't get scared and say, 'Oh, no, this film isn't working.'
Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.
So I feel a responsibility to help first-time film-makers in Brazil, but also to increase the dialogue between film cultures which are really wonderful and so much closer to us than what we do see on our screens.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
The chasm between independent film and commercial film is now so wide. You either have to be super-famous and get a first-time director or writer's indie script off the ground, or you're a newcomer and go and put a cape on for four years.
I got into film in an odd way - when I was 17 years old I participated in a Swedish film as an actor. I think every person at that age should get a role in a film, because during that time you want acceptance, and when you have a role in a film you become an important person. I think about that now, and that was my fantastic starting point.
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