A Quote by Sriram Raghavan
I believe thrillers work if the story is good. It is not easy to make a thriller because the audience is making their own story in their minds as they watch the film. You have to break that expectation and still make them like the film.
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With independent film, simply because they don't have the money to make a big-budget film, they're forced to make a story that's important to them, that they would like to see on film, a personal story that people can relate to, about people, where you can see the love of the characters.
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.
A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
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.
I believe you shouldn't force the audience's interpretation of a character or a story. The more you explain things, the less intriguing and imaginable they are for viewers. . . . Film to me, in its essence, in its ultimate nature, is silent. Music and dialogue are there to fill what is lacking in the image. But you should be able to tell the story with moving pictures alone. For my next project, though, I'd like to make the kind of film where the characters blabber all the time.
I'm drawn to a good story, really, as I hope most people are. For me, it's the story that's going to stay with you eventually, not necessarily the genre. I go to watch a film because of the story, not because it was a Western or a comedy.
I'm the only Mauritanian filmmaker so it wouldn't make sense to make a film in France. I could shoot outside of my own country if the story was something that called for it. Africa really has to be the reason for me to make a new film.
I thought 'The Artist' was a perfect way to find a good balance. The artistic challenge is obvious because the film is black-and-white and its silent, but I did my best to make the movie accessible and easy to watch. I really don't want to make elitist movies. I really try hard to work for the audience. Audiences are smart. They get everything.
I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.
To make a film with Rajinikanth will be a dream come true for any director, and I'm not an exception. But I always believe that it's the story that should drive you. If I come up with something like that, and if the story inspires me, I would be happy to work with him.
When I was writing the story of 'Omerta' I was not writing it to make a film or something. But when a filmmaker like Hansal Mehta picked up my story and turned it into a film, I thought that now I can consider myself as a legitimate writer.
My stupid ambition is to make a film that's not like any other - one that has its own kind of logic and hooks viewers without making them think too much. It's a film I'd love to see, one in which after 10 minutes the audience isn't able to predict the whole thing.
Oh my God, I love UCLA so much. Their film school is great because it's unstructured, so there's a freedom to fail in there and just tell your story, and everybody makes a film. It's so important to have that freedom in film school because that's what you're there for: to learn and make a film.
With 'Badlapur', I wasn't even thinking about casting. I was wondering whether any producer will want to make a film with a story like this. It is not your expected, feel-good, or even your regular thriller.
I never make a distinction between doing a film in Hollywood or doing a film independently. It's just the story. It's always the story for me. The constants are that it should challenge me and I shouldn't repeat myself. And the story should always be a story worth telling.
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