A Quote by Taapsee Pannu
By being part of films like 'Judwaa 2,' I can ensure that I garner more fans, who'd then want to watch me in other powerful films.
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Film fests are an opportunity to see different kinds of films that you usually don't get to watch. When I'm part of a jury, then I get to judge films, but otherwise I attend festivals to watch two or three films a day and network with a gathering of cinema lovers from all over.
My philosophy is very simple. I want my fans to come to theatres and watch my films and enjoy. I ensure that they get their money's worth.
I will do all genres. I will do intense roles, along with the kind of films that I have grown up watching, like 'Biwi No. 1' and 'Judwaa.' But I won't do films where, if you take me out of the script, nothing changes.
When I studied with Nicholas Ray he was always telling us, "If you want to make films, watch a lot of films, but don't just watch films, go take a walk, look at the sky, read a book about meteorology, look at the design of people's shoes. Because all of them are part of filmmaking." So I thought, perfect! That's a good job for me.
Films like 'Jungle' are rare. It was a powerful role and in the future I would like to be associated with such films rather than being part of nonsense stuff.
Doing films like 'Judwaa' helps me relax, and that should be my reason for doing it, not to compensate for doing films like 'Pink.'
Bhojpuri cine fans watch good films. They watch Salman Khan's entertainers and can also watch 'Tanu Weds Manu' type of films too.
Even today, I'm not sure why I make films or what makes me want films. I think it's other people's films. Whenever I see a really great film, I think, 'I want to make a film like that.' And then I never do.
Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
Actually, I can't stand watching violent scenes in films; I avoid watching horror films. I don't tend to watch action films mainly because I find them boring, but I watch the films of David Cronenberg and Martin Scorsese, usually in a state close to having a heart attack. I'm a complete coward. I make violent films as a result of my sensitivity to violence - in other words, my fear of violence.
What's very important for me is that I want family audiences - all kinds of audiences - to watch my films, and the more people who watch the movies, the better. So I want to be part of popular cinema.
Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible.
I watch my films with my mum and other family members, you know. I also know there are thousands of women who watch my films. I don't want to set wrong examples.
I want my films to do the talking. I feel if people have to understand me better, I should do more good films. I just want them to know me through my films.
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.
One of the head guys at Disney categorically said to me, 'We don't want to make children's films any more. We want to make films that are going to appeal to all quadrants.' Hence you have films like 'Shrek' and all the Pixar stuff, which is designed to suit everybody.
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