A Quote by Sriram Raghavan

People don't know what filmmaking is even after they have made ten films. — © Sriram Raghavan
People don't know what filmmaking is even after they have made ten films.
I'm British; I live here, and I've always made my films here. And we're on a journey in British filmmaking right now. We're attracting big films again. 'Star Wars' filming here will employ thousands of people. We're world-class in so many of the craft elements, and the vibrancy of our filmmaking is strong.
I was offered my first film right after my 10th board exams. Back then, I didn't even know they made films in the South. Films, I thought, were either in Hindi or English.
There's a thing I really mind hearing, when someone says: "That's not my kind of film, I don't want to go and see that..." I don't believe that, I don't believe that it's possible to write off a whole genre of filmmaking - "oh I don't like subtitled films", or "I don't like black and white films", or I don't like films made before or after, a certain date" - I don't believe that.
I'm deeply appreciative that many people have enjoyed my films, films that I made in my own style. The successes have helped me learn how to make films free of expectations and focus solely on the pure filmmaking aspect, without worrying about how much money it'll make.
In the last ten years of watching films I have found that some of the foreign films I saw affected me most. One American film that stands out for me for its workmanship and artistry is 'Ratatouille.' It was an astonishing effort in filmmaking.
I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.
It's always a problem when you're working with people you don't really know. Most filmmaking is about shaking hands and just starting. You know, these month - or two-month-long endeavors that millions of dollars are based on, and the people doing them don't even know each other, or know each other under pressure, or know each other when things are really... Which filmmaking is completely done under in many circumstances. You're under constant crisis, making a movie.
I made lots of short films, about nine or ten short films. And then I made a television film called 'This Little Life.'
I made shorts films, learning the dos and don'ts. Most importantly, I've been editing all these short films. Nothing can teach you filmmaking like editing can.
I started learning filmmaking by joining a weekend film school in Bengaluru. I made some amateur short films that got appreciation from people around me.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
From the moment I met Martin Scorsese in 1962, he educated me about the films that had taught him so much about filmmaking. He had been deeply affected, even as a child, by great films that stretched his mind and struck into his heart, and he was eager to share them with friends and people who worked with him or with actors who were in his films.
I think if you look at Sam Raimi and Jim Cameron, those guys know things about filmmaking that almost nobody knows anymore. They are students of film from when they handmade films themselves, you know cut films with their own hands and razor blades and tape.
There are so many varieties of films. You've got the jet-lagged films, where you fly to Bulgaria or wherever and get off the plane, and they bring you right to the set, and you start working, even though I don't even know my name, it's been such a long flight. Then there's the alimony films. But after you've been doing this long enough, you've gotten into every kind of situation you can imagine, even to the point where there is basically no script, so you have to kind of do it scene by scene and survive.
I understood why films were made, and if they made a lot of money, they were successful. All of these things I knew. As a ten-year-old boy, I didn't really think a lot about finances or celebrity. I always viewed films as kind of what I imagined a summer camp to be like.
Obviously, I've made several films in Korea, so I'm very well accustomed and acclimated to Korean filmmaking.
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