A Quote by Sudeep

My fans are there because of my work, because of the films that I did. They are my assets. — © Sudeep
My fans are there because of my work, because of the films that I did. They are my assets.

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Because of Walter, we did it the other way around. We also worked with an awesome sound designer named Will Patterson who just worked for four years on Terrence Malick's films. He did a lot of conceptual work to make the soundscapes in the jungle have this surreal quality, to blend these two films because a lot of the images are about this parallelism between the movies. The sound was very integral to fusing everything.
I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.
I've always loved theatre because it's so immediate. The challenge of it is that, career wise, it's easier to get traction in the industry if you do film and TV because the audience is larger, and because the work can be seen for a longer period of time. I did solid work in a series of regional and Off-Broadway shows, but the work I did on TV or film will have a longer life with a larger audience (and with services like Netflix). Ultimately, there's something intimate about TV, because the storytelling and the actors come home with the viewer. It can be powerful because of that.
I did plays because I liked plays. I studied psychology because I was fascinated by the subject, and I hope to keep doing films because I love the medium.
It's one of the reasons why Spider-Man: Homecoming is so exciting. Because it's a new genre for us, a new character, the first time that Spider-Man is in our cinematic universe and you can see what he was meant to be in the comics. He's such a young teenager in comparison to these other heroes. But I think, because we're film fans who go and see everything, it's much more natural that you're inspired by other work. And then of course that influences your work, and the way you make films.
I never did films for the money or because I needed to buy a house or car. I do it because I love my job.
When I did 'Bird,' it was a surprise to some people, first because I wasn't in it and second because most of the films I'd been doing were cop movies or westerns or adventure films, so to be doing one about Charlie Parker, who was a great influence on American music, was a great thrill for me.
It seems to be that more and more people are asking you to work for nothing on films, and that's unfortunate because you have to make a living. On the other hand, I don't do a better job because I get paid a lot of money. I'm never like, 'I'm not going to work as hard because I'm not getting paid as much.'
I did B-list films because I couldn't find A-list ones. And then when I approached A-list directors with the experience I had gained, I was told that it was too late because I had done B-list films.
Stars work because of familiarity. They fill theatres because audiences know who they are. There is a brand equity. But there are films strong enough to not need stars, or films that should not be made with stars at all, where only fresh faces will do. So I make the decisions accordingly.
Chelsea has grown in my heart, not just because of my team-mates and all the people that work for the club but also because of their fantastic fans.
I was so lucky because I started working very young. And my father was very wealthy and I didn't need to work. I did my films.
One of the things in marriage is you have to understand what appreciation is about, and that'll keep me for longevity. That's why my fans love me, because I appreciate them. Because with no fans, there would be no sport, no fighting for me, no UFC, no Bellator, no Rizin; there'd be nothing without the fans.
I like to work with people who want to make films because they are passionate about films and not because they want to sell films and make money. I am not for people who get the most saleable actor and then the most saleable director and sell the film.
I never really thought we'd fitted into the cross-over drawer. But I think the real Sugar Ray fans did like us because we always had variety and because we experimented a lot.
I built up a knowledge of 1960s and '70s British films because my dad used to work nights, and I'd sit up with my mum and watch films - 'How I Won the War' and the films of Richard Lester, Karel Reisz and John Schlesinger.
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