A Quote by Sonu Sood

Come to think of it, some of the most special films in my career were 'City Of Life' and 'Happy New Year.' For both these films, I stayed over a month in Dubai and just when I was thinking that I need one more film like that, that's when 'Kung Fu Yoga' happened.
To make a kung fu film is like a dream come true, because I'm a big fan of kung fu movies and I'm learning kung fu for a long time.
I wish there were more kung fu films. They are a part of our culture.
Kung fu films have to move with the rest of the world. You couldn't keep on doing sword fights in historic films. People wanted superheroes. They wanted something fast and new.
Hurdling is like Kung-fu. Everyone comes from a different school. And everybody says 'my Kung-fu is better than your Kung-fu.' You have to find the technique that best fits your body size.
The thing is, right now the films don't need to be overtly political to be about our times. We also need films that are just human, that are about people. People need that, too. It's like we need to reconnect to what it is to be human. Not just what our political situation is. That's not what I'm thinking about exclusively. Human content is needed again, as it was in the '70s. I think films were more human than they've been since then.
We actually tried to put in [Kung Fu Panda 3] all the things we wanted to put into the first two films. We're all the same people who've been working on the other films and we all had things we couldn't do, and had to leave on the table. We just couldn't achieve them before. This time we have multiple new environments and different styles of animation.
June is definitely a special month for me as many of my milestone films have released in this month, but that doesn't mean I consciously choose to release my films only in this month.
I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
We did two films [Kung Fu Panda], because the first two films were so embraced by the Chinese audiences we wanted to make something we could push further and since this is a co-production, it seemed like the perfect time to create something that felt native to Chinese audiences.
I need something to do when I'm not working, or I crawl up the walls. So I've just taken up kung fu. I was looking for some kind of calming, relaxing activity. I tried yoga, but it wasn't really me.
According to me films like 'Sonali Cable' are career changing films and only few get such chance, I am happy that I did this film.
I don't think all films should necessarily look like they do on digital video. I think it cheats the audience, at some point. If you try to make an epic and you shoot it digitally, that doesn't make much sense. I think there's a certain kind of film that could be a "digital film." But it shouldn't be interchangeable with other films. It should be something more than just a capture medium. It should be a different form altogether, something new.
You're right, we both have been working on these films [Kung Fu Panda] forever and we know these characters so well that literally we will react to the same note in the same way. We will have the same answer most of the time.
When I stopped making films, they were getting on to the more realistic films and the explicit films and all. They were depicting life as it is, and some of it was unpleasant. I gradually moved away from that.
In most kung fu films, they want to create a hero who's always fighting a bad guy. In the story of Ip Man, he's not fighting physical opponents. He's fighting the ups and downs of his life.
Kung fu: You've got to spend your whole life at it before you're kung fu.
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